{ Numb3rs 217: Mind Games }

[delga]

Hahahaha. So. I wasn’t going to do this again this week but I had a notepad handy and just ended up recapping again. I don’t want to make this a habit because it takes me four hours to watch the damn thing. Also, I wrote a hella lot today. Not good. And it’s waaay obsessive on the little things. I’m quite happy, though, because I haven’t been this obsessed with a show in so long and I always feel good at the end of an episode. (What am I going to do during the season hiatus?! Daily marathons, in all likelihood).

Sigh. Megan is so pretty.

Don is not here. He is obviously off filming last week’s episode.

So in love with Megan. Aie! I know him! Isn’t he in Spiderman and WHERE ARE THE CREDITS? Not that I care too much because I skip them normally, but till.

Hee! Mmm, Don. And Charlie. Hee. “This is where we lay in the grounds for an insanity plea, right?” So, from this, can we infer that Megan…isn’t a believer? I mean in terms of religion; she’s far more…can I say pragmatic?

Don is cute. OK. I promise to stop that this week. I will mention it once here (eeeee!) and once at the end, okay? Just take it as a given that I’m go hormonal every time he turns up on screen. I have a biological excuse. I also love Megan a lot so be ready to hear that a lot. She is really pretty. OH MY GOD MEGAN BACKSTORY? “Your father always wanted a son?” OMG. Youngest of four girls? Niiice. I so called that one. (Thank god for this: I’m in the middle of writing a Megan fic. This is brilliant). Ooh, mad. It’s sad because you can see it in her face that she wants to walk away and stop listening but curiosity gets the better of her. Ooh, ominous. Megan has a secret?

Don! And Charlie! God, is that another waistcoat? Perhaps I should explain: I know someone whose dress code used to regularly involve waistcoats and it made them somewhat attractive. I am so not lying. Anyway, fetish arose from that. Oh. No, not a waistcoat. Charlie, The Scientist. Whoa, that guy totally rattled Megan. Oh dear, the speculation mill in my head just started wandering to arenas of badfic. This is so not good for me. Suffice to say, Megan doesn’t look too happy. [One of the first instances of brilliance from Diane Farr in this episode. You’re gonna get sick of me saying that].

Yay! David and Colby! This camera angle is sharp, yo. A new one, too; I don’t think we’ve ever sat here before. Like it enough; not as much as last week’s, though. This week they are not the Three Musketeers but the Bonnie and Clyde of Exposition. Whoa, high angle shot, awesome pan down to the board. Fabulous.

Charlie, I can’t tell what you’re wearing. Oh, your shirt is creased. Oh dear. Pure scepticism is painful, I think, if not expected. It may also produce rudeness and insensitivity from Charlie. Oh, here we go. Hey, this isn’t going to be like that CSI episode where the psychic dies, right? The stalker one from when the show was still awesome? Here we go with the rudeness. SIGH, Charlie, SIGH. Also, trying to be nice, kinda, but still bitter. I don’t know. Rarr. NO. YOU DO NOT GET TO BRING MARGARET EPPES INTO THIS. NO, NO, NO. And you didn’t need to tell him that. I don’t like that idea. Not because I don’t believe but because of all the theological repercussions of that statement. Yo, writers! What is with the anvilicious, contrived crap? Oh, and Charlie is hurt, too. That’s why I don’t like it. It’s an invasive remark.

David? Is that woman flirting with you? Those were eyes.

Fleinhardt! I knew Larry would go for this. Ugh. Don’t eat your food in front of us, please. I have a cafeteria phobia. Hee, go Larry. This discussion is interesting. AND AGAIN, WRITERS, NO COOKIE. God. That was imbecilic. Charlie couldn’t argue in terms of theory so he just heads for the ‘crazy’ argument? NO COOKIE, WRITERS.

Who is that? His reflection was intriguing. Now, I don’t know. “Cut-throat.” Heh. David and Colby are the real FBI agents in this show, obviously. They’re the only ones who do work – who is the Hispanic guy? I know you! Oh, look at him getting ready to run. Told you. Obligatory chase scene? Check. I think that guy was in CSI.

“Wait, you think I did this?” In the past two days, I have heard that stupid clichéd line 9 times. No, for real. (So far it may seem like I’m not enjoying this episode but that assumption would be so very wrong. I just get tetchy over details). “No, I got a whole ‘nother kidding face.” Colby? How is it that I love you so much these days? You are awesome! Oh, this guy’s a good Samaritan?

CIA? Again, speculation overdrive, except this might be more interesting. I’m not going to openly speculate because I don’t want the plot to quadruple bluff me again. Heh. Alias meets The Gift. (Amusingly, Navi Rawat’s TV movie Thoughtcrimes is similar to this premise, except she’s not psychic; she can hear other people’s thoughts. What? Joe Flanigan has a perfect photographic memory in that movie). Don’s response is funny. STARGATE? HAHAHAHA. You know, I swear they move the walls of that cubicle to make it bigger and smaller. Although, actually, it’s probably more that sometimes the camera is in the cubicle and sometimes it’s panning from outside it. Lighting is so off this week. Niiice use of space.

Hee. Air hockey. CUTE SMILE! God, hearing ‘Stargate’ makes me giggle. “Don’t!” HAHAHAHA! BEST INTERACTION EVER! Jeebus, these two are so good together and that synchronicity was perfect. (Shallow side note: quit rolling up Megan’s sleeves, yo). This lighting is better than the office space. What’s with that? (Side note: Megan’s reaction to “Don’t!” is wonderful, wonderful). OK, that line was cute, but still? Me a little not pleased with writer peoples. To the extent that I have lost control of accurate grammar and syntax, apparently. “This good man may be too far gone.” Megan’s response should be interesting. I think she’ll say no but…hmm. OK, I should take it off pause now, right? Ooh! And look at Larry’s interest! “He said some things to me.” She is doubting! And Larry…man. Hehe, Megan. These boys don’t need to be profilers to sense the emotional undercurrents. Nicely played by Farr, though. And she is upset, too. Silence…and oh, this is sad. Diane Farr totally hijacks this scene from her co-stars. That reluctance, that brave, maybe embarrassed smile; the underlying silence. The character revelation of not having spoken to her father for ten years… that’s an interesting turn to the character, too. Um, guys? That’s not the big reveal, right? OK, Charlie, sweetheart, please stop. Hee! “Eppesy”!?

Wtf? Oh, Bonnie and Clyde. Man, again, this music. What with the high minor key? It’s lovely. I should probably pay attention to the plot. Guy who doesn’t like emigrants. Niiice. Do we get a fair look at this story, by the way? Because it’s fairly pertinent. I mean, in Britain we’re dealing with asylum seekers and it’s just not this clear cut. You have to help these people but they live off your dole and take up jobs that are needed. They often can’t speak the language. They become scapegoats for British societal fears. It’s difficult. What I’m saying is Cabin Man may be painted as the Bad Guy for obvious reasons but, much like last week, his plight is not examined which is difficult to do in a 45 minute show but is also a shame. OK. *Play* I love how David is always so rational. I love how that’s a plausible evolution from the S1 by-the-book characterisation of him. It implies that as he settled into the job and as more responsibility came to him (not to mention Don’s trust), he got more confident. That’s an awesome nice touch. Also, Bonnie and Clyde scenes are always good, even if they are mainly expositional because Ballard and Bruno have fantastic on-screen chemistry.

Megan trying to be nice and then coming off a little sharp towards the end. Nicely played, Farr. Charlie is going to say this is a probability trick, an anomaly (or anomoly, heh). However! One the bus trip back from Cambridge last year, my friend Ronnie accurately did that play your cards right higher/lower thing through a whole deck of cards. True story, guys. So this test is only really useful if they repeat it and he is consistently right. Even then, it’s not proof. This guy’s talents can’t really be falsified. Which is what concerns Charlie (because falsifiability is a mark of scientific worth).

Hahaha. He got them all wrong. Which means he’s playing them because those odds are as improbable as him getting them all right. As Larry is about to point out. I should quit pausing the file. Hee, I love that Charlie just pulls the figure of probability out of his head. Let me just go back to Megan’s exit from the room: again, irritated. This guy has got to her on some personal level and now she resents him on principle. She doesn’t want to suspend her disbelief.

God, Charlie. “I think.” Larry’s debating is wonderful. Charlie is arguing that falsifiability must attest to proof. Larry is arguing that such a method can’t be uncovered because we have to know how to do that and we simply may not have a clue yet. I’m undecided. I don’t find it implausible that psychism (?) is possible. But I understand the scepticism and (in Megan’s case) the reluctance to believe. Charlie…I’m a bit more unstable on. I think that at first he was just sceptical and didn’t believe that guy but the comments on Margaret Eppes (not on, dude!) are what set him on this ‘vendetta’. Hmm, speaking of, where is Alan? Oh and what is wrong with blind faith? And Larry is arguing beyond blind faith, anyway. As he just pointed out. Inflexibility is not a good thing for science. Charlie’s reactions seem a little extreme to me and yet wonderfully in character, which is something else entirely. Lighting is for shit, by the way.

Woo! The Three Musketeers! Again, nice angle from beyond the board, lovely composition. What? I’m just saying, it’s smart is all. Megan’s seclusion from them in the background, the subtlety of her stress, and yet, centrefold, between Bonnie and Clyde. It’s a nice piece of work. Again, this sidelong profile is brilliant. Ah! David as a believer. Or rather, David as someone who wants a lead, which is interesting in terms of the Megan fic I’m working on (I’m writing David’s voice right now, so this is useful). Megan’s response isn’t one of anger or even distress, necessarily (I say it again: fabulously done by Diane Farr) but of understanding and of surprise. Not to mention a tinge of reluctance. Don’t believe me? Think I’m projecting? You just watch that scene again. Watch Farr’s face. It’s so acutely done.

Hahaha. Both Colby and David had “fake question” voices, i.e. voices of feigned surprise which implies that they stopped filming and this isn’t a continuous rig (which is likely because of the camera angles). And we act cut on the seriousness of the case which has so far been overlooked, even by me. At the end of the day it’s not “do psychics exist?” it’s “can this man help solve the crime?” That’s the balance they need to make and David implicitly directs that. Megan is borderline. Charlie, apparently, is residing in the land of his ego. Again. WRITERS! STOP FUCKING AROUND AND GIVE CHARLIE REAL MATH TO DO. And someone cut Krumholtz’s hair already. Or give him an Alice band, or a hair tie, or a fucking butterfly clip I do not care!

Ah, Megan, also, reluctant but needing the leads. This underlying ethos in the show is wonderful. Last week I talked about Don’s sense of justice and this week we need to talk about the Three Musketeers (on a side note: Don is Athos, Colby is Porthos, Megan is Aramis and David is D’Artagnan. Don’t ask how I decided upon that arrangement because the more I think on it, the less it fits, but oh well).

WTF was that whooshy shit in the scene transition?

Charlie. I kinda get this suspicion that his outrage at the psychic will inevitably lead back to his sense of self-import. This is an interesting scene. Much like the last Megan episode, she and Charlie come a little to blows. In Plain Sight had that difference in priorities and awful shouting but Mind Games… just watch Diane Farr. She is so upset. She looks sad. I can’t explain that more than to say she is beautiful in this precision. She is frustrated. It’s kinda heartbreaking to see. This is not the guilt-stricken anger at the end of In Plain Sight. This is emotional for her for a different reason. This links back to her emotions over a father she hasn’t seen in over ten years. (Speculation, of course, but this is how Farr plays it. There is also every chance that I am projecting). Speaking of projecting (don’t ask how this links) Don is obviously still off filming his arguments with Alan.

Ha. Pencil sharpening. FAKE. Oh. See, psychic brought up what I brought up. You know, maybe he’s irritated but he’s also openly goading Charlie on. This ‘copycat whisper’ shit is enough to irritate me and I’m just watching the damn thing. Hmm. Glasses? Cheating. “Real science.” That was an irritating line. HA. HE DID IT AGAIN. (Dude, maybe I’m reading the writers’ minds? Or the writing is fluky? Lolz). That is what I’m saying: does it matter whether he fakes or not if ultimately he can help them?

Nice circling of the camera; not much movement this week, nicely reserved shots. Ooh four musketeers. It’s the whole group! Don! I like this shot, square onto the four of them. Again, check out the colours and the composition. I mean it, this scene is ridiculously clever and I’ll bet that only the tiniest fraction of people actually stop and pay attention to it. Colby is in the foreground and to the left; Don and Megan are in the middle distance; David is to the left in the back of the shot. Look at the sway of movement here: Megan moves away, gives Colby the cue which Don picks up; he traverses from one side to the other, thinking aloud. (Haha, he’s got chewing gum. Trust me on this. I know Morrow naturally has this bizarre way of enunciating at times [why yes, I have just re-watched an interview with him. How did you guess?] but watch the conservation of movement. This will inevitably involve staring at his lips but I promise, this is me being a geek, not a hormonal fangirl). David’s hand in shot draws attention back to him; opposite side of the room from Don. The movement is important. It makes the formation of ideas seem quick, fluent and connected. This is one camera arc, not cutting yet. That’s really important for these scenes. Also, makes them more exciting.

David comes to the foreground, Megan turns in; Don approaches. The action is focused on David’s information; he is the middle of the triptych. Excellent! Insert Charlie in the background, away from the cluster; note the connection here between the brothers. This is played out so well in this scene. Follow Don away: first camera cut with Colby literally flashing out of the shot almost instantaneously so that Rob Morrow gets paid for some actual screen time in this episode the focus stays on Don, setting up this marvellous and wonderful Brothers Eppes moment where we intersect to Charlie (and this connection is subtle because we’re following Don’s attention and the question people should ask is: why Don? And why is it that he notices Charlie? It’s this fabulous idea of intuition that is so fucking ironic in this episode, you have no idea). It’s a nice cut, Colby, again, slides into the frame, is cut; we linger on Don. Why? This is where the direction is so clever. Megan talks but the exposition is momentarily not the point anymore; she speaks off-camera. Don and Charlie and that familial interaction suddenly become intensely important. In a way, Don takes the position of the audience; rather, the viewers follow Don’s attention. Don turns his attention back to the exposition; those details become important again. Also, everyone is clustered in a small space now: Charlie, far off in the background; Don, our focus; the Three Musketeers just next to Don. Guys! This scene is so smart! For real! Static shot. Megan holds the scene. No movement for two reasons: the dialogue is heavy and needs to hold your attention; Megan’s words and Diane Farr’s delivery have their own rhetorical rhythm; they have a pace unto themselves. This is classic line delivery from Farr, too, the rounding monotony of her tone, the repetition of that tone – she’s making a list, trying to emphasise similarities and patterns of behaviour and that’s reflected in her voice. A telltale sign of Megan wearing her profiling hat. David speaks, again, latched onto this idea of these pictures being an aid (and follow the development of that idea through this scene: we start in one place, get a counterargument and end up in a mildly bizarre middle ground of non-resolution). On Don: Charlie’s voice. And here we go.

We bounce to the opposite side of the room, to Charlie. Nice interplay, not entirely subtle in terms of symbolism, though: Charlie’s thinking and the psychic’s thinking (as portrayed by the Four Musketeers) are opposing modes of thought. (I promise to quit this soon: it’s just that these scenes are so fascinating and to me they are complete love. I watched the Three Musketeers scene from Protest so many times and I think the direction really gets smart because the acting is fabulous [there’s no denying that the entire cast plays of one another so beautifully and effortlessly; that they take their cues from each other seamlessly] but has little to work with in terms of these detail/exposition-heavy scenes and so the camera work has to compensate and carry the action that is absent. Pay attention to the soundtrack, too, because the heavy chords are overrun by a higher strain: there’s this aural interplay, this tension there. It’s neat).

HAHAHA. David and Colby have the world’s best “Ooh, tension!” faces. For real! Want a classic example? “Ooh, math fight!”

Ach. Charlie is the focus. Lots of cutting here: uncertainty. David’s head swivel? Means that there’s a math metaphor coming up. Look out for it. No, seriously! Whenever David looks to other people because he doesn’t get something, Charlie launches into a metaphor. HA! THERE WE GO! David, at the point/moment of the head swivel, is the viewer. Colby is the link between the math and the plot. There you go. (Just a side note: Charlie is much closer to the group now and he moves in, further, so the focus is on him). I love it when Megan clues into something because she always moves when that happens (in this case she springs out of her seat). This signals to the viewers that we can get excited. No, seriously, I am not making this up. These are acting patterns, characterisations. And Megan stands up, brings David into play: it’s a visual hint that David is being converted to this line of thinking, as though understanding is being passed from one character to the next, in sequence, SMART, YO!

This is good. This is so good. Charlie thinks he’s got them but Don wants the psychic to work, too. Because, and god knows I’ve said this before: for Charlie, math is the impetus. For the Four Musketeers, justice is. They need to put aside their reservations and they’ve had practice, no doubt, in doing this. They need all of the leads that they can get on this case. Fuck yeah.

ALAN!!! OK, I like Charlie’s argument here because rhetorically speaking, the construction is so much better than any of his other attempts to explain his position. This is much better phraseology, both sides of the coin coming into play. But generally, if I’m watching the episode straight? By this point, I’m more swayed by the human element. I guess Charlie thinks that the psychic is a waste of time and thus detrimental to the case but it’s simply not portrayed that way which is a shame, but, again, so very much in character. This argument is good, though. Charlie underscores his point of view and not through the “crazies” point of view; he pits forward his own views, and the real root of a philosophical and intellectual debate on this topic. Alan is so kindly here. *happy sigh* Don! Oh, spoke too soon. Ouiji board?! Siiiigh. The irony here is that people are at times as sceptical of Charlie’s math as they are of the psychic and Don gave Charlie a chance. Here we underpin that characterisation again: HE NEEDS LEADS. Haha, man. I am so picking up on this stuff quicker than the writers think people can. The dialogue is mirroring what I’m thinking about a minute after I’ve thought it. I feel smug and superior and not double-bluffed, huzzah! SWAMI? Jeebus, Charlie. (This upsets/frustrates me because now we have Charlie’s Ego versus The Need To Catch The Killer). Rarr. OK. I have a younger sibling so Charlie’s exit here? Reeks of attention seeking behaviour and garners no sympathy from me. It irritates me so wholly because it is so fucking childish. And I also feel annoyed because it’s not like they don’t need Charlie’s help because they do and Don acknowledges that. So me? I don’t side with Charlie on this one.

Thank fuck for the act cut. I think this is already longer than last week’s post.

It’s interesting that we have now moved to a state of ‘trust’ (not absolute). Ah, Megan’s response. After is too late. A little sense of betrayal, of ‘why are we bothering, then?’ because for them it obviously needs to be before the deaths. (Not going to list it this time around but seriously, take note of how the space in the room is used throughout this scene). Oh Charlie! Rarr! Stop competing, start helping. Although I’m glad you still felt the impetus to continue. I hope we get to a point where the two modes of thought come together. I would just like that balance. Charlie’s hostility (anyone’s hostility on this show) is painful.

EEEE! OMG YOU HAVE JUST KEYED INTO ANOTHER FETISH! Colby is speaking Spanish. WITHOUT SUBTITLES! EEEE! *flails* God, LOVE! AND DAVID, TOO! Can they actually speak or have they just learned random phrases? I mean, they’re technically Californians now (ok, they’re not; but I guess that’s the implication/assumption here, right?) I mean, like with Floridians, there’s this higher population of Hispanics and thus a greater rate of bilingualism, right? Please? Because that would so make my day if they could actually both speak the language fluently. (Except…David’s from New York and those bilingualism rates must be lower there because of the confluence of cultures, right? Don’t ask where I get these assumptions from. I’ve only ever been to the states once). It doesn’t help that the boys are kitted out in some seriously fine casuals. ACH! OK, he doesn’t know more than the basic Spanish phrases FOR SHAME, COLBY, FOR SHAME! (Psst. Speak more of your Spanglish). Ooh, HE DOES speak more. So that English was, what, exposition? Writers? WE ARE OBVIOUSLY NOT THAT STUPID BECAUSE YOU DIDN’T GIVE US SUBTITLES SO WHAT THE HELL WAS THAT FOR, HMM? WE GOT THE SILENT SUBTEXT, OK? Jeebus on a bicycle! So dumb. Guh, Colby. Don’t quit at that. (Haha, Colby is growing a tash. Duuuude).

Maaan! This tiny scene of fact collation is awesome for two reasons: 1) GUH! and 2) the music. Forget that Spanish guitar; listen to the way it gets tense. Neat.

Hee. Walk of Exposition! (Don!) Listen to that music, continually jumping back and forth between two notes (low underlying tremor); wait for it to jump higher as we get more tense. Also, continuous camera work and then very, very tight interactions. The space seems smaller, more claustrophobic, thus busier, more intense, more important. DRUG TRADE. Ha! I called it! (Look at the Four Musketeers here. Look at the composition! Camera moves back: collective relief as the puzzle comes together. Still quite tightly knit, though, because there’s still work to do. So frakking clever!)

OK. LIGHTING IS FOR SHIT. I only really care because I have icons to make but still. It’s really crappy. How much do I love that Don’s working at the table? I bet Margaret Eppes wouldn’t let him do that. Man, I miss them eating in different parts of the house. And the marginally better lighting. (What, me? Bitter? Never!) Ooh. Yay! Vectors and math WITHOUT THE PAINFUL HOSTILITY YAY! And I love it when Papa Eppes gets involved in the theorising. And lookit – Don didn’t even finish his food, naughty. That amuses me more than it should.

Bonnie and Clyde! OK, my copy of the episode must be of lower quality than usual because it’s really dark. OK. Sorry lighting guys, my bad. Not so much your fault as usual and yet, still. If you could work on the lighting? So much love. !!!SOB?! *GASP* That’s nearly as shocking as when Marge Simpson said the same thing. Wow, David, you got a cute mouth on you. Shallow moment: Megan is so very pretty. (This is lazy: quick exposition, ooh, convenient plot advancement(!) Every week, yo).

Watch that act cut segue into Don! and Charlie entering what is now officially the Room of Exposition, Fantastic Direction and Gorgeous Lighting For The Most Part (aka REFDGLFTMP, bwhaha). And the Four Musketeers are all seriously enticing. No, for real! Hey, the psychic is there too. Missed his entrance. Nice juxtaposition there between him and Charlie. Shallow: Charlie drew a perfect arc, yo! Also: Megan’s hair is wonderful.

Aw! The Brothers Eppes reunite! Drums and enter Colby: that was an awkward and bizarre insertion of reconciliation which makes me think we won’t end the episode on them or, at least, on the both of them together. Anyway, much love for Colby today. He is totally rocking my socks. Maybe it’s just those black shirts…oh, sorry. Heh.

Music! Is! Tense! Also, they got double-bluffed ( I just realised: wow, look at me paying attention to the plot *headdesk*). Again. Which was inevitable because this episode really only had two guest stars. Also, Don isn’t going with them and neither is Charlie so… this is new. This must be episode doubling because of last week. It must be. It’s a tad early for sweeps filming clashes. Maybe next episode or 2x19. Niiiice. Boxed in, dude. Running David! Pounce, David, pounce! Man, Bonnie and Clyde turned out to be a way more appropriate label than Thelma and Louise, didn’t it?

Guilty love: cop/gun action sequences. Guh.

Water bottles? That is a complete cop-out. Aww! Colby and David! You can rescue me any time you want. God, what is wrong with me? Spanish! *flails*

ARGH WHOOSHY WTF-AGE! (Although I must confess that I am totally impressed by the pan up the side of the building).

Megan! Cute hair! End shallow! Aww. “That is quite a gift you have, professor.” HAHA: “Let’s leave it at that.” God, awkward much? OK, we’re obviously not going to see Don again so let me round off my silent squeeing: EEEEEE! Oh man, so fucking tense with Megan there (ooh, foreshadowing?); Farr really, really pulls this wistful sadness. It’s beautiful.

Oh wait. I was wrong. The Brothers are back. Which means that thing about Megan that people don’t know is either that story about her dad (which…whatever, it needs to be more than that) or something yet to be visited ha! Awesome. Also, a wee bit cheated. But I don’t care. Casa Eppes! God, Don’s smile. (I know I promised but… guys! He’s so pretty. And as a person, not a fangirl… if I had a friend like that, who lit up like that when they smiled, I would be made so happy by that. I would do everything I could do to keep that person that happy. Happy Don=Happy Meisha for totally non-fangirl reasons. What? Ok, maybe a little for fangirl reasons…)

Oh what? Margaret Eppes speaks? Jeebus. So corny. “Your mother never did like it when you guys argued.” FIC. Come on flist, I know you can do it. There’s a hella canon prompt if ever there was one. For the record? I lobe that photograph of the young Mama Eppes. I remember it from the first season.

What? THE EPISODE STILL ISN’T OVER? Megan! Hee, forgetting the time; bloody brillianr little insert there, looking at the phone for the time. I swear she wears a watch. Club? Are we going to have an abusive father storyline? Because…shudder. And also they have the potential to fuck that up so badly. Aw, she so loves her mum; that was sweet. And her dad, too, because she’s reaching out to him.

DUDE. I’m so going to watch that again tomorrow. Especially because it took me four hours to write this and then type it up. As ever: comments very welcome. Even off-flist comments winkwinkhinthint.