Friday, October 16, 2009

Mummy Dearest

Progress was the buzz word this week. When it comes to Booth and Brennan's relationship, it always feels like one step forward and two steps back. Someone is never on the same page as the other, so any sort of feelings get suppressed and the duo moves on and continues to solve crimes and pretend that there is nothing between them other than a professional relationship. I thought the same was going to hold true this week when Booth refused to admit that he did, in fact, have a problem with Bones dating his boss's boss (and not the "because you'll talk about me" variety). He insisted that there was nothing between him and Bones even though his feelings for her were eating away at him as he counseled his boss's boss on dating her. And then he learned that Brennan had shared his egg story. Somehow that tiny egg managed to change everything because it led to a pivotal scene that led to the first real progress of the series (it was the kind that the show cannot ignore going forward without it sticking out like a sore thumb).

Brennan had thought that Booth's egg story was something he had shared with many people. As it turns out, he had only shared it with her and the fact that she shared it with someone else, kinda crushed him. And seeing him crushed, kinda crushed her. I think she realized for the first time that Booth has genuine feelings for her, and this realization allowed her to be a tad bit more free with her own feelings. In the final scene, she gave Booth a first look at her history-making discovery. Even more important, she didn't gloat about her accomplishment and was insistent that Booth is the one who changes history all of the time. She also agreed that things between them should stay between them.

But, the most telling moment of all involved no dialogue. It was just the two of them standing much closer than partners with a strictly professional relationship should be looking like one or both of them might lean in and kiss the other if the rest of the gang hadn't entered at that kismet moment. And then she straightened his bow tie and he brushed her hair off her shoulder and I swear the two of them were both completely aware of their feelings for each other for that one fleeting moment. I was so excited to see the promises of the premiere finally getting on a roll and then we got the bad news that the show is on hiatus until November (due to MLB playoff coverage). Let's hope the show picks up right where it left off.

And now, here's this week's edition of The Good, The Bad, and The Ugly:

THE GOOD: No surprise here: that ending scene between Booth and Bones at her exhibit. By far, the closest they've purposely come.

THE BAD: Sweets asking Brennan to give Daisy another chance while she was at a crime scene trying to get to the mummified body. Baaaad timing!

THE UGLY: Wow! So many things to choose from this week, but I'm going to settle on the sawed off, exposed cranial cavity of the deceased doctor. This wasn't going to be this week's winner, but then they threw in that one little drop of gooey blood. Instant winner!

If you missed last night's episode ("A Night at the Bones Museum"), check it out for free at


John said...

Your pick for the Ugly was a good one, but the one I found most disturbing was seeing the murder victim in the sarcophagus. What was disturbing was she still looked like a person, so you really could see a person died (in TV land that is). Normally the corpses on this don’t really like people anymore so while gross there is no person there anymore.

One question, whatever happened to the electrocuted security guard? What he shown or ever mentioned again? If he was I missed it and I wondered all episode what happened to his body.

RichE said...

I had The Ugly nailed as soon as I saw it. The blood drop looks like it was digitally added so the production crew must have decided it needed that extra little touch of yuck!

I am a little concerned with all the longing looks etc. We know that TPTB at the network have made their feeling clear about the feelings. Can they really keep it going so long with out it becoming irritating?

John, I don't think the guard died.

Kathryn Morris UK

TVFan said...

I'm wondering, too, about how long TPTB can drag out the will they/won't they before the audience gets bored. Obviously, you can't hook them up too soon into the show or you get the "Moonlighting effect" and you can't drag it out too long or the audience loses interest. There's a happy medium in there and the show has to find it (or rather, the network has to since we know they're the ones who put the kibosh on it last season). Personally, I think this is the last season that they can drag it out, so I hope the show starts moving in that direction (and I feel they did with this episode, but time will tell).

John said...

I think the Moonlighting effect is given too much concern by the networks.

My favorite drama was “Hill Street Blues”. While it was an ensemble show, there were two leads. And they were a couple from the first show to last (at the end they were even married). They had problems both professional (he was a police captain and she a public defender) and personal. She was from money and he was not and he never felt worthy of her and this caused problems and worries for him. And they had fights and major disagreements, but never broke up.

If the only way the writers can write Booth and Bones personal relationship is with UST, then fire them and get writers who know what they are doing.

And the networks (all of them) have to learn to stop micromanaging the shows. If TPTB want to make all these decisions give up the network jobs and try to be writers. If they don’t trust the showrunners, why are they there? To be messengers between the writers and the network?

And I now step off the soapbox and return you to your regularly scheduled blog.