Dwójka naszych dzielnych bohaterów, Bibek i Jules, po nieudanej karierze w World of Warcraft, przeniosła się do innej równie legendarnej, choć pewnie z innego powodu, produkcji przemysłu gier – Age of Conan. Miłego czytania i komentowania.

DISCLAIMER (UWAGA SPOILER):

Wspaniała grafika, monstrualne na początku wymagania sprzętowe i tzw. otwarty system PvP (czyli każdy mógł walczyć z każdym w dowolnej chwilii) i ten niezapomniany wielogodzinny, nocny grind, by z bossa wypadły niesamowite klapki +3 do siły (autentyk!).

“Fizbo” and…

“Here Comes My Girl”

November 25th, 2009

Thanksgiving is a holiday about family, which when deployed in television does one of three things. The first is to emphasize the cohesiveness of a particular group of characters who work seamlessly when brought into the same setting. The second is to emphasize the sheer chaos that results from the show’s personalities coming together, to either comic or dramatic purposes. The third, meanwhile, is to demonstrate that the show is a convoluted mess where bringing the characters together is a futile exercise that will fail to provide interesting television.

What’s helpful for ABC’s 9pm comedies is that both of them have built their identity around the idea of family, to the point where bringing the gang together is like second nature to the two shows. Cougar Town has really started to charm me as of late, and “Here Comes My Girl” is yet another fine episode that brings together this group of individuals into a family of sorts that’s just an enormous amount of fun to watch bounce off of each other. And “Fizbo” is perhaps my favourite Modern Family episode yet, taking advantage of the chaos at the heart of this family and bringing things to a satisfying (and also sort of sweet) conclusion.

It made for a really comforting hour of television comedy, which is what the timeslot has been providing (on average) all season.

Perhaps the strongest individual element of the episodes were the show’s fully taking advantage of the strengths of a pair of supporting characters, in this instance Dan Byrd’s Travis and Eric Stonestreet’s Cameron. The two characters have been strong overall, but this episode allowed them to take things to another level. With Travis, this means going beyond his sarcasm and awkwardness to the heart of his relationship with his mother, resulting in Jules losing her sense of self-control and failing miserably at being anything close to “cool.” The result is a really honest, but funny, story of a son coming to terms with the role his mother will play in his adult life, and while it had its broader comic moments (the balloon gag) and its quippy one-liners (the rolling pin would make me feel self-conscious too) it was more about that moment at episode’s end (set to, thanks to the sleuthing skills of Mrs. Sepinwall, Noah and the Whale’s “Give a Little Love,”) where Jules and Travis share a quiet moment preparing Thanksgiving dinner. It was a wonderful piece of acting from Cox and Byrd, and totally sells that Travis is more well-adjusted than Jules but is nonetheless believably awkward. It was a heartfelt and funny little story that really sold me on the relationship.

As for the genius of Fizbo, I don’t really know where to start. Stonestreet’s Cameron has become the show’s breakout character: while Ty Burrell’s Phil stole the pilot (Lion King moment notwithstanding, even, I’d argue), Cameron has been able to show more dimensions and has a slightly better foil in Jesse Tyler Ferguson’s Mitchell. Fizbo was a stroke of genius because of both the sheer commitment of Stonestreet and some legitimately amazing directing choices. Look at the dramatic angles the show uses to introduce the character as Cameron puts on the nose/eye makeup, or the amazing shot of Fizbo’s foot stepping out of the car when Mitchell’s about to get attacked at the gas station. The show worked to create the legend of Fizbo, and while Stonestreet was nailing the smaller moments (like the “something”/”nothing” gag with Jay) the direction was establishing just how epic this ass-kicking, balloon-animal machine really is. It didn’t have the emotion of Cougar Town’s storyline, but it didn’t have to: who needs sentiment when you have legend?

Cougar Town was less interested in creating such a huge sense of destiny, but I thought the comic rhythms the show has established in recent weeks were working in overdrive: there were a number of fantastic scenes with Ellie and Laurie playing off of one another, the dynamic between the three men was as strong as it always is, and both broader scenes (the “Hi Kylie” song and the basketball games) were executed to their full effect. I also like that they came right out and pointed out that both Bobby and Grayson are at the point in their lives where Jules is the perfect woman for them, and that they used this for both comic and dramatic effect. There was a joke to be had in Grayson’s suggestion of buying it deep inside and avoiding it, but it’s also kind of true, and the characters have a strong enough dynamic for me to buy things going slowly. Some shows I’d wish that they’d get the usual storylines out of the way, but I’m so enjoying just hanging out with this family that a Thanksgiving dinner can simply hint at some things before just being about spending time together.

And perhaps the best thing about “Fizbo” was that this same theme wasn’t hammered into our heads. The conclusion did end on a note that Luke got a great birthday after all, one where he (and not the holiday) was the center of attention and where the whole family came together, but it came to be through a series of hilarious circumstances. After complaining about V’s in media res opening this week, it was great to see one where the views into the hospital scene made us on alert for potential maladies, and the result was a lot of brilliant comic tension as you had both legitimate threats (the scorpion, Dylan’s mayo allergy, the crossbow) and hilarious phobias (Phil’s fear of clowns, which was a great piece of acting from Ty Burrell) pulling us in various different directions. When things eventually go terribly wrong, with Manny becoming the great hero (“My dog’s still in there” was a cute touch) only to have Luke end up breaking his arm after slipping on Claire’s “comb sheaves” beads was the sort of wonderfully fitting climax that the show should do more often. The show earned that scene in the hospital in a way that previous episodes haven’t earned their tidy endings, and the result was a really great half-hour of television.

Overall, two families I’d be glad to have Thanksgiving dinner with, so long as there’s no crossbows involved and Fizbo is invited.

Cultural Observations

• Want to take this chance to wish all of my American readers a Happy Thanksgiving – sure, it’s not as good as the real CANADIAN Thanksgiving, but I hear it’s still a pretty big deal and all that jazz.
• There were a number of great Fizbo sight gags, but I think the battle for me is the post-badass novelty clock pullout and the running away from the scorpion like a small child. So different, and so amazing.
• Although there were a few too many Michael Scott style “Make joke and mug to camera” moments for Phil in this one, I liked that the show continued last week’s trend of Phil making fun of Claire as opposed to vice-versa.
• Andy’s “I’ve got a secret” heartburn was a fun bit of comedy from Ian Gomez, and Christa Miller is as lovely as always in twisting the knife.
• My one question from the show: while Bill Lawrence’s usual signature touches (the use of music, the oddball comedy, the physical comedy, etc.) are all in place along with a sense of sweetness that the show was lacking in the pilot, I do wonder if the show is interested in investigating actual sadness or tragedy at all. Scrubs, as a medical show was forced to confront it, but these characters are relating to the point where something happening to a distant relative could be played emotionally, but it definitely feels more resistant than Scrubs (or, for that matter, Spin City) to the idea. Just a thought.

W oczekiwaniu na kolejny podcast Kroniki Gier, zachęcam Was do przesłuchania najnowszego, 28 odcinka zaprzyjaźnionego z Kroniką Gier podcastu Pineappleblog.pl, w którym miałem przyjemność wziąć gościnny udział. Rozmawiamy o grach (m.in. Borderlands, Modern Warfare 2, DJ Hero, Symulator Farmy), a także o filmach (Braveheart na Blu Rayu, 5 centymetrów na sekundę) oraz innych, równie ciekawych sprawach. Podcast znajdziecie pod TYM ADRESEM.

Udviklingen indenfor AI (artificial intelligence) er efterhånden ved at være nået til et punkt, hvor robotterne virkelig ligner mennesker. Vi er langt fra Star Wars R2D2 og tættere på terminator. En robot er ikke længere en skrodtbunke som rasler, når den går, men en menneskelig figur som kan genkende andre mennesker som har ansigtsudtryk og som endda har en form for følelser. Robotten Jules er lavet af et plastisk matriale kaldet Frubber ™. Materialet gør det muligt for Jules at vise realistiske ansigtsudtryk og tale naturligt. I følge firmaet hansonrobotics som står bag Jules, kan dette materiale blive en del af fremtidens proteser og plastikkirurgi.

Se Jules sige farvel til sin familie, får han blive slukket og pakket ned.

Every so often I’ve updated the list of films that I have already seen with brief reviews.  Call it the complete-ist in me, but when I’m done with reviewing each of the films in the book, I’d like to have reviewed every single film in the book.

Anyhow, here’s another batch for you to read.

Enjoy!

Shichinin No Samurai AKA Seven Samurai (1954)

The Seven Samurai is the first movie that I had the pleasure of seeing from the master director Akira Kurosawa, and it is also one of his most praised works. Without a wasted frame, the story takes place over the course of almost 3 hours. Kurosawa, as he does in each of his movies, explores more than just the action and injustice featured in the plot. He is a humanist first and foremost, training his lens on the interpersonal relationships of the characters, tracking growth across this epic. As good as this film is, I would have to say that Kurosawa has numerous films that are even better, check out Stray Dog, Rashomon, Yojimbo, Sanjuro, and my personal favorite High and Low.

The Ladykillers (1955)

Existing as a special combination of dark humor, and slapstick farce, The Ladykillers is exceptionally funny and unsettling. Alec Guinness stars as the leader of a group of criminals staying at the home of a hardy, vivacious older lady under the guise of being musicians. The plan is simple, rob a bank, and utilizing the trusting nature of the kindly old lady, and the remoteness of her home to their advantage, get away with it. Easily my favorite of Alec Guinness’ films (thanks in part to the Star Wars prequels that is), The Ladykillers features a solid cast of great actors, including a very young Peter Sellers.

Bob Le Flambeur AKA Bob the Gambler (1955)

My introduction to the fantastic Jean-Pierre Melville, I was captivated immediately by the cool as ice gangster come gambler Bob. This film is filled with signature Melville-isms. Glorious post war street scenes in Paris. Trench-coats. Honor among thieves. And who could forget the caper. To talk too much about this film is to give too much away, and to do that is to ruin it for those who haven’t seen it. Other classics by Melville: Le Cercle Rouge, Le Samourai, and the recently released in the U.S. Army of Shadows. All are fantastic, and deserve to be in this book! Incidentally, Bob le Flambeur was recently re-made into The Good Thief starring Nick Nolte and directed by Neil Jordan, and while I’m not generally a fan of re-makes, I really, really liked this film. Not quite as good as the original, but it was one of my favorite films of 2002.

Kiss Me Deadly (1955)

The ultimate in hardboiled private eye crime stories, Kiss Me Deadly is a full on assault on decency. Kiss Me Deadly proudly presents itself as a grimy PI story, littered with bodies and intrigue. If you even have a passing interest in film noir, this should be your first stop. Violent, misogynist, brutish, and glorious, Kiss Me Deadly begs to be watched and dares you to look away. I myself, loved it!

The Ten Commandments (1956)

Apparently based on a book, The Ten Commandments is an epic in every sense of the word. Colored in bright explosive candy hues, and featuring huge sets, as well as a cast that number in the thousands, The Ten Commandments is more spectacle than great movie. Certainly not a waste of time, but not my first choice when choosing something light to throw in.

Det Sjunde Inseglet AKA The Seventh Seal (1957)

A classic, and well-loved film by Swedish auteur Ingmar Bergman, The Seventh Seal stars an extremely young Max von Sydow as a knight who faces Death at a game of chess to decide his fate. This film is filled with themes that find their way into each of Bergman’s works, ranging from courage in the face of death, religion, and humanity. The Seventh Seal still holds up to this day, with luminous black and white photography that, thanks to Criterion’s Blu-ray edition, has never looked better.

Note: Don’t be fooled by the similarly themed, but much worse, “Bill and Ted’s Bogus Journey”

Kumonosu Jo AKA Throne of Blood (1957)

Kurosawa’s retelling of Macbeth set in feudal Japan. Shakespeare has never looked better as it does in the stark black and white, twisting shadows and swirling mists as seen through Kurosawa’s camera. Toshiro Mifune doesn’t disappoint in the lead role, but the real stand out is Isuzu Yamada in the as Mifune’s opportunistic, poisonous wife. The plotting and scheming starts right from the get go, all the way up till the frenzied end of the film.

Touch of Evil (1958)

One of the many trouble spots on Orson Welles’ resume due to studio interference, and financing issues, still Touch of Evil remains as possibly the best B-Movie ever made. Iconic (and sometimes hilarious) performances by Janet Leigh, Charlton Heston (as a Mexican) and Welles himself as the crooked cop willing to do almost anything to ensure justice prevails (just so long as it’s his justice). The movie is almost as famous for its long tracking shot opening as it is for any of the performances, featuring a nearly 4 minute shot done in one take which travels around cars, actors, and buildings. The film The Player, payed homage to it by mentioning it a few times during a similarly complex shot in that film.

Vertigo (1958)

Flopping on its initial release, Vertigo didn’t gain the acclaim it deserved until much later after it was released on video. Vertigo visits themes present in each of Hitchcock’s other works, including the obsession with blondes, innocence tainted with corruption, and the schlub who get in over his head. Jimmy Stewart plays the schlub, Kim Novak plays the blonde, and gloriously technicolored San Francisco plays the innocence and the corruption. Vertigo has a twisty convoluted story with elements of surrealism, an interesting watch.

Mon Oncle AKA My Uncle (1958)

My favorite of Jacques Tati’s Monsieur Hulot films, Mon Oncle was also the first of them that I had seen. Tati, playing Hulot, is a master of visual comedy, and not in the same way as the Three Stooges, or even Buster Keaton. Tati is an artist whose work is appreciated the longer you watch. The plot of the movie is not so much important to the film as it is simply a guide to get our characters into interesting situations so we can watch them get out. If you liked this film, check out other films featuring the bumbling Mr. Hulot, including Trafic, Playtime, and Les Vacances de Monsieur Hulot.

Les Quatre Cents Coups AKA The 400 Blows (1959)

My personal favorite of the French new wave movement was this small-scale film, personal piece from Francois Truffaut. Featuring the director’s alter ego, Antoine Doinel, The 400 Blows is the first in a series of movies, each about a different stage of life and the challenges that go along with them. The period from childhood to young adult is covered heart-breakingly here, following Antoine through the rough waters of his home life and his interaction with the outside world. Later chapters deal with finding love, getting married, having children, and growing old, but Les Quatres Cent Coups remains the directors most personal and his best.

North by Northwest (1959)

One of Hitchcock’s best, North by Northwest features Cary Grant, suave as ever, being mistaken for a government agent by a group of foreign spies. Just like in Hitchcock’s most famous works (of which this is one), the witty one-liners, suspense, and drama are heaped on generously. I can’t help but feel sad that a similarly themed, but better film featuring Cary Grant was left off this 1001 list. Charade, also featuring Audrey Hepburn, James Coburn, and Walter Matthau, is one of my favorite movies ever! Check out both Charade AND North by Northwest as a double feature! You won’t be sorry.

Some Like it Hot (1959)

Now this is an example of a classic, well-loved film, with actors that I really love (Jack Lemmon I’m looking at you), a premise that is more than suitable, yet the finished product never really caught me. It’s sort of like Hitchcock’s To Catch a Thief. I never really saw what all the hype was about. That being said, I didn’t hate it either. It never made fun of me when I had braces, or turned me down for a date, my affections and this film have just always been mutually exclusive. Perhaps it deserves another watch…then again maybe I should just watch The Last Boyscout again.

A Bout De Souffle AKA Breathless (1959)

Jean-Luc Godard is nothing if not a sacred cow of French cinema, and while I have loved some of his other films (Le Mepris, Bande A Part, and Masculin Femenine), Breathless or A Bout De Souffle never really did it for me. I can still rationalize why it was so revolutionary (use of jump cuts, editing, non-actors, and subscription to the aesthetic of the French new wave style), and see it’s importance, but I prefer other examples of New Wave cinema. If you are interested in seeing a Godard film, try Masculin Feminine, it is just as revolutionary and a bit more accessible.

Psycho (1960)

A prime example of Hitchcock in his prime. Psycho was so good, and so affecting that some of its actors were type cast just on the strength of this one film (Anthony Perkins, and Janet Leigh), so much so that without a little research it’s hard to think of what other films either of them has been in. Psycho may not be as visually shocking and gory as horror films of today, but it still manages to hold up over time and be just as unsettling as it was back in its day. Hitchcock has always excelled at making the comfortable un-comfortable (motels, birds, tea, dreams, the list goes on…), and the subtle touches in this film work perfectly. Consider for a moment that Perkin’s Bates is an amateur taxidermist of birds, and then that Janet Leigh’s name is Marion Crane a type of bird, or the fact before the crime Marion is wearing a white bra and a white purse, while after it she is wearing a black bra and purse. His attention to detail, and knack for foreshadowing is demonstrated in full force in Psycho and remains one of his best films. Despite all the uproar over the Gus Van Sant remake, I thought it actually did some justice to the original film and if nothing else brought it a little more deserved attention.

Note: This film also has the distinction of being the first American film to ever show a toilet flushing on-screen.

Peeping Tom (1960)

Released the same year as Psycho, and dealing with similar subject matter, Peeping Tom wasn’t received with the same acclaim and attention that the former was. On the contrary, Peeping Tom was seen as subversive, perverted, and generally too shocking. The story revolves more around the killer than the victim in this one, whereas Psycho is presented more from the victim’s point of view. Either way, Peeping Tom is a fine film, one worth watching, however it is so similar to Psycho that I’m not sure it needs to be on the list of 1001 films.

The Apartment (1960)

As far as light-hearted, touching movies about someone recovering from a bout of depression, this one is my favorite. Billy Wilder directs Shirley MacLaine and Jack Lemmon in a sweet touching comedy without losing any of his trademark cynicism or the pointedness of his dialogue. The Apartment is another chance for me to champion the somewhat maligned talents of Mr. Fred MacMurray as Lemmon’s boss. MacMurray plays a fantastic creep who really defines the term “heel”.

Spartacus (1960)

Containing almost none of the trademark elements that make up a Stanley Kubrick movie as we know it (Kubrick apparently dis-owned the film before it’s release), Spartacus remains an interesting movie that isn’t great. It is, however, another example of a film that enabled an up and coming filmmaker to gain his voice, and define himself later on in his career. If only for that reason, Spartacus is a great film, but luckily for the studio, it has some other things going for it. Kirk Douglas plays the title role of Spartacus, and despite all the lavish set production, and concentration on spectacle, brings some heart to the slave who defied Rome.

Jules Et Jim AKA Jules and Jim (1962)

One of director, Francois Truffaut’s most well thought of films, Jules and Jim may be the Lost In Translation, or Juno of its time. Viewed from a certain angle, the plot is a completely moving and emotional story that you believe, so much so, that you can see yourself and those around you in the roles that these characters embody. Viewed from another perspective, it can seem a little precious or purposefully manipulative. Depending on what is happening in your life (I’m mostly thinking about whether or not you are in a relationship, and if you are happy), this movie can preach the glory of love and the pain of rejection. On the flipside, if you have shaken free the angsty, teenager-esque feelings everyone has had in their youth, you may feel like you’re being talked down to.

Cleo De 5 A 7 AKA Cleo from 5 to 7

Taking place, as the title suggests, from 5 to 7, we get a slice of the life of Cleo played out before us. Sometimes we, along with Cleo herself, are a voyeurs into the lives of people around her, and other times we are focused on her as she roams around Paris. By and large Cleo lives a carefree, spoiled life, yet we still sympathize with her when times are hard, and cheer for her when they are good. This is a small film in a lot of ways, but that doesn’t mean that it isn’t impacting and beautiful.

Lawrence of Arabia (1962)

I have to admit.  I didn’t like Lawrence of Arabia that much.  Perhaps I was too young to appreciate the aesthetic beauty of Lean’s desert panorama camerawork, or just maybe it was the epic length that decided it for me.  One way or another, I didn’t appreciate it as much as everyone else seems to think I should. 

The Manchurian Candidate (1962)

Overly reliant on gimmicks and quick editing techniques, The Manchurian Candidate doesn’t flesh out the story nearly…wait, no that was the terrible re-make that came out in 2004.  The original 1962 version, is just as taught, and well executed today as it was at its release.  While the story between the two versions remained virtually the same, the consistent building of tension and anxiety, combined with the pitch perfect acting of Lawrence Harvey, Frank Sinatra (yes…Frank Sinatra), and the devilish turn of Angela Lansbury as the Queen of Hearts, makes for a fantastic film.

Lolita (1962)

It took me forever to finally see Lolita.  I have known the basic story (older man, younger girl) but had just never gotten around to seeing it.  And while I’ve been told that the book is much better, I thought the film was pretty good.  Not great, mind you, but definitely solid.  The shocking and controversial nature of the relationship was toned down a bit for the screen, and maybe as a result doesn’t seem all that shocking in today’s day and age.  Memorable turns by Peter Sellers, and Shelley Winters, not to mention it’s an early film of Stanley Kubrick.

The Birds (1963)

Despite being one of Hitchcock’s most popular, I actually think that The Birds is one of his most over-rated.  I think I owe it to myself to give this one another look someday, but right now I feel that it was too heavily based on the gimmick that had to rely on special effects.  Though it is not necessarily the fault of the movie, but the special effects seemed particularly dated and old fashioned.  Worth a watch, but not my favorite by a long shot.

8 1/2 (1963)

Federico Fellini is, by most accounts, a master of cinema.  One, that I have always had a little trouble getting fired up over.  It’s not that I don’t like his films once I’ve seen them, the problem comes in when it comes to motivating myself to see them.  I couldn’t tell you why, but his films consistently get pushed off when they come up on my Netflix Queue or when I see the one or two I have on my shelf.  I shouldn’t feel this way, considering I really loved the moving poetry, and soul baring passion in 8 1/2, yet it still happens.  One very definite reason to watch this film is the man-crushable Marcello Mastroianni, swaggering through as the alter-ego of Fellini himself.  Dealing with all the reservations with women, making movies, childhood, and the future that the director very famously dealt with himself, Mastroianni embodies a certain cool, yet believable character that begs to be watched.  Combined with imagery that leaves the audience wanting more, 8 1/2 is a fantastic film.

Well, that’s it for this time.  Thanks for reading!

Jak potoczyły się losy dzielnego Bibka i Julesa w World of Warcraft? Czy zbili fortunę kładąc trupem nieliczone zastępy potworów? Przekonajcie się, czytając drugą część Akcji Emigracji. To też subtelna refleksja nad złowieszczym wpływem gier MMORPG. Miłej lektury i nie zapomnijcie zostawić swój komentarz.

PS

KK – czyli w slangu graczy WoW, “ok”.

GTG – Gotta go (wpisywane, gdy trzeba się zbierać do wylogowania z serwera).

NN – night night – po prostu dobranoc.

“You need to know that eventually, this isn’t gonna hurt so much. And the good times are just gonna get easier to remember, and you’re gonna end up being a stronger person because of all of the stuff that you’ve been through. I promise, really. Oh, by the way, I hated your wife, she was a total bitch. Needed to be said.”

Courteney Cox como Jules Cobb en Cougar Town (1×04)

World of Warcraft to tytuł absolutnie kultowy, doczekał się nie tylko milionów fanów na całym świecie (jak praktycznie każda gra Blizzarda), ale także licznych odniesień w pop kulturze, żeby wspomnieć tylko odcinek South Parku, w całości poświęcony tej wciągającej grze. Dlatego i Kronika Gier postanowiła nawiązać do tego monumentalnego tematu, a że i Caridor i Jules spędzili w WoW setki pracowitych godzin, nie było to wcale takie trudne. Zapraszamy do przeczytania kolejnego odcinka komiksu Caridora, tym razem właśnie o World of Warcraft. Ten komiks zapowiada też nową serię na łanach Kroniki Gier – Akcja Emigracja, w której Jules i Bibek będą ruszali do świata gier w celach zarobkowych. Miłego czytania i pamiętajcie, żeby kliknąć w obrazek, by go powiększyć. Napiszcie też, jak Wam się komiksy Caridora podobają!

This song has inspired me through the way it conveys poignancy through simplicity.

Using only voice and piano, this remake of the popular 1982 “Tears For Fears” hit creates a sense of pressing melancholy through a simple message, slow tempo, droning sounds and lack of instrumentation.

Though it’s not exactly the kind of music that can be enjoyed, it’s efficacy in representing the sombre sense of hopelessness increasingly found in modern society can be appreciated.

Put simply, this song has shown me that things need not be overcomplicated to create meaning, or convey a message appropriately and effectively. This can relate to many aspects of life, particularly writing.

By Ryan Brailsford
Sources: Video link found on “http://www.garyjules.com/media/videos.php?p=46″ linked to “www.youtube.com”

SPOILER ALERT!!!
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Με την άφιξη δύο νέων ηθοποιών αναμένεται να υποδεχτεί τη νέα χρονιά το Cougar Town. Συγκεκριμένα ο Scott Foley θα υποδυθεί έναν επιχειρηματία που θα κάνει την Jules να χάσει τη γη κάτω από τα πόδια της, όμως για μόλις τρία επεισόδια. Η δεύτερη άφιξη θα είναι η Lisa Kudrow, μία δερματολόγος που η Jules δεν θα μπορέσει να αποχωριστεί ακόμα και αν η κακία της έχει ξεπεράσει κάθε όριο.