Foundation 3.9: Mann tracht un Gott lacht

Well, there are two things I really liked in Foundation 3.9:

[And there are spoilers ahead ... ]

1. There's a Yiddish saying my grandmother used to tell me:  "Mann tracht un Gott lacht".  The usual English translation is "Man plans and God laughs," though the literal translation is ""Man tries and God laughs".  And we're treated to a rendering of this, when Quent lambasts Dusk for his "math" of destroying planets and billions of people, saying "that's your math, it's not the math I believe in," and Dusk responds, "Your math?  Or do you mean Hari Seldon's Plan, at which God is currently laughing." Now, Dusk might be a horrible human being, but he deserves credit for apparently knowing and riffing on this old Yiddish proverb (or, ok, actually the Foundation show's writers do), as well as having a pretty keen understanding of the peril that The laughing Mule (God) is currently posing to Seldon and humanity.

2. Speaking of which -- Hari and The Mule -- that was quite a conversation Hari and Gaal had about The Mule near the end, in which Hari wound up sounding like Data in Star Trek: The Next Generation, wanting a fully human body.  This Hari -- whom lots of viewers are sure is a hologram, but I think is indeed more like Data, an android (or for that matter, Demerzel/Daneel) -- says to Gaal two very important things: (a) "don't call me that" (i.e., don't call me Hari), and (b) "I want what he has".  So, the first likely means, don't call me Hari, because I'm not Hari (I'm some kind of android), and the second means, I want what The Mule has.  (I thought, maybe the "he" in the "I want what he has" was the original Hari, who did have a flesh-and-blood human body -- but the Hari talking to Gaal says "he mysteriously got a body", and as far as we know, there's nothing mysterious in the way the flesh-and-blood Hari Seldon got a body, right?)

We have some inching progress in comprehending what's going on.  And next week is this season's finale.


Enjoy Yiddish culture?  Check out this short story, just published.

See also Foundation 3.1: Now We're Talkin'! ... 3.2: "The Fault, Dear Brutus, Is Not in Our Stars" ... 3.3: Dawn and The Mule ... 3.4: Cleon Knows His PKD ... 3.5: Cleaving Closer to Asimov's Trilogy ... 3.6: Finally! But ... 3.7: The Origin of The Mule ... 3.8: Deconstructing Concepts

And see also Foundation 2.1: Once Again, A Tale of Two Stories ... 2.2: Major Players ... 2.3: Bel Riose and Hari ... 2.5: The Original Cleon and the Robot ... 2.6: Hari and Evita ... 2.7: Is Demerzel Telling the Truth? ... 2.8: Major Revelations ... 2.9: Exceptional Alterations ... Season 2 Finale: Pros and Cons

And see also Foundation 1.1-2: Mathematician, Man of the People, and Cleon's Clones ... Foundation 1.3: Clonal Science Fiction, Hari Seldon as V. I. Lenin ... Foundation 1.4: Slow Hand, Long Half-Life, Flipped Coin ... Foundation 1.5: What We Learned in that Final Scene ... Foundation 1.6: Folded Variations ... Foundation 1.7: Alternate History/Future ... Foundation 1.8: Divergences and Convergences ... Foundation 1.9: Vindication and Questions ... Foundation Season 1 Finale: Right Up There

 

Curb Your Enthusiasm 11.1: Not Quite Tsuris

Curb Your Enthusiasm was back on HBO for the debut of its 11th season tonight, pretty to very funny, not the funniest of this show which can have you laughing out loud for most of its 30 minutes, but enjoyable and fun to see nonetheless.

As usual, Larry gets caught up in a variety of situations in which his grievances are justified but in apparent defiance or ignorance of social norms, for which Larry gets grief himself, but stubbornly doesn't relent.  Someone with declining mental abilities owes Larry $6000, overdue six months, and Larry thinks it's time to call in the debt.  Everyone else including slight acquaintances and especially Susie think Larry is horribly wrong to ask the guy for the money.

Speaking of Susie, she obviously plops down on a white couch, causing Larry to spill his red wine all over it, and no one wants to support Larry's insistence that it wasn't his fault -- including Jeff, who agrees with Larry privately but won't go against his wife.  Actually that was very funny, I'm beginning to think maybe I was too harsh in the first paragraph.  I hope Larry gets this far if he reads this review.

The two funniest interludes in the episode were (1)  Larry being forced to cast a young woman clearly not right for the part of Marsha in the "Young Larry David" sitcom Larry and Jeff manage to sell to Netflix.  He did this because the young woman's uncle drowned in Larry's pool, unprotected by the fence called for in the local ordinances. (My guess is she'll turn out to do a great job in the part.)  And (2) the pre-funeral, or whatever it's called that Albert Brooks puts together for himself, and gets Larry embroiled in.  Jon Hamm shows up and wants to express that's he's "bashert" about the faux death, or maybe express his condolences that Brooks' family and friends have "bashert", and Larry correctly tells him that "bashert" is not the right word for that, because it means "fate".  Hamm asks what is the right word, then.  And Larry says "tsuris".

Well, not quite.  "Tsuris" means "trouble" or "troubles" in Yiddish, but I'd say it's too weak a word to pertain to the death of a loved one.  What would be the right word then?  I don't know.

But, ok, I was wrong about the episode not being hilarious enough -- in the immortal words of Jerry Orbach's character in Dirty Dancing, "when I'm wrong, I say I'm wrong" -- and it's bashert that I'll be back with at least one or two more reviews of this season's episodes.

See also:  Curb Your Enthusiasm 10.1: Reunited! ... Curb Your Enthusiasm 10.3: Garbage Cans and Apples ... Curb Your Enthusiasm 10.8: Meets Mad Men ... Curb Your Enthusiasm 10.9: Science Fiction ... Curb Your Enthusiasm Season 10 Finale: Unjust Desserts

See also: Curb Your Enthusiasm 9.1: Hilarious! ... Curb Your Enthusiasm 9.2: Wife Swapping ... Curb Your Enthusiasm 9.3: Benefits ... Curb Your Enthusiasm 9.4: "Hold You in his Armchair" ... Curb Your Enthusiasm 9.5: Schmata At Large ... Curb Your Enthusiasm 9.8: The Unexpected Advocate ... Curb Your Enthusiasm 9.9: Salmon Discretion ... Curb Your Enthusiasm 9.10: Outfit Tracker

Podcast Review of Shtisel 3: Cheesecake and Faith

Welcome to Light On Light Through, Episode 169, in which I review Season 3 of Shtisel.

Blog post review of Shtisel.

the first interstellar seder in space takes place in this novel

 

Check out this episode!

Shtisel 3: Cheesecake and Faith

The wife (froi) and I binge watched the third season of Shtisel on Netflix -- hey, it debuted on my birthday, March 25.  And, I was delighted to find, these nine new, long-awaited episodes also had a shout-out for me, with a fairly major family named Levinson.  Thank you, Shtisel!

And these episodes were immensely enjoyable!

[Spoilers hollow.]

Especially the ending, which had more happy endings than I've ever seen in a series before.  Kiva defies his father and goes to live with his wife Racheli.   Yosa'le defies his mother and says he will marry Shira Levi (not Shira Levinson, but I'm very happy for Yosa'le anyway).  Shulem may be able to reconcile with his brother. And, most important, Ruchama and her baby are both fine -- their faith beat the thousand-to-one odds.  With so many unhappy endings in our real world -- with Trump's defeat being a remarkable exception, a blessing! -- it was gratifying and timely indeed to see so much happiness at the end of Shtisel.

The language, the Yiddish, was also a joy to hear, as it always is.  Where else can you hear the word fakakta, as Nuchem, Shulem's brother, says his finances are.  And to stay with the same character, the same sentiment, and the same area of the body as metaphor, it was good to hear Nuchem tell his brother he's a shtick drek, as well as this being well deserved in this case.

And the food was gesmacht to the max.  That cheesecake from Brizel made my mouth water.  (Is Brizel a real place?  Hey, send me some of that cheesecake -- look at this great publicity I'm giving you.)  The lessons Shtisel so effectively conveyed, from the power of food to the power of art to the power of faith, are not only appealing but deeply memorable.

The acting was outstanding, too.   Doval'e Glickman as Shulem, Michael Aloni as Kiva, Shira Haas as Ruchama, and Sasson Gabay as Nuchem were all just perfect, and I also especially liked Daniella Kertesz as Racheli and Reef Neeman as Shira Levi.

The ending did tie up a lot of stories, but hey, there's always room for another season.  I'd drop everything else to see it, even if it doesn't debut on my birthday,

See also Unorthodox: Less and More than Shtisel

the first interstellar seder in space takes place in his novel

Woody Guthrie's "This Land is Your Land" -- In Yiddish, with a Message

 

I just love this new, Yiddish rendition of Woody Guthrie's "This Land Is Your Land" for a whole bunch of reasons.

Yiddish is a splendid language, unique in its capacity to describe certain kinds of emotions and human situations, and I'm always glad to see and hear it alive and kicking.

 

The special note at the end is also crucial -- that Woody Guthrie's song is often "sanitized," leaving out the words about "stolen land, lives, and labor," and "this Yiddish version [is] in solidarity with Indigenous, Black, and immigrant voices calling for power, reparation, and justice in this land."  Yes, indeed.  The Jewish people in America have always been strong supporters of those essential values.   

Trump did so much damage in so many areas that it's easy to overlook his Gestapo tactics towards people seeking asylum and freedom in this country on our Southern border.  I'm glad to see Joe Biden moving with speed to reunite children who were separated from their parents seeking entry to this country.  The Democrats now control both Houses of Congress as well as the White House.  Daniel Kahn raises his fist at the end, and the words on the screen urge us to "stay healthy and strong against fascism".  Yes!  And that includes Republicans whose first instinct is to trample on our American values.

In addition to Daniel, great singing by Sarah Gordon, Lorin Sklamberg, Patrick Farrell, Sveta Kundish, Michael Alpert, Linda Gritz, and Yeva Lapsker.   And thanks to Forverts (The Forward) for presenting this.

Thanks also to my old friend, Jordan Axelrad, for bringing this video to my attention.

Uncut Gems: Drama at the Speed of Light

I realized years ago when I saw Milton Berle in a serious dramatic role - I think in The Oscar in the 1960s - that, contrary to what you might think, comedians can make excellent dramatic actors.  Robin Williams confirmed this decades later, with a vengeance, in Insomnia.

Adam Sandler plays a serious role in Uncut Gems so frenetic that's it's almost beyond serious.  But it's certainly not comedic. at least for the most part.  Howard Ratner's a jeweler and a gambler, with a keen sense of both.  But he moves so quickly that he's almost always out on a limb, in danger of being beaten or worse, and this applies to his personal as well as professional life.

His main adversary is his brother-in-law, played by Eric Bogosian, who is dead serious as Arno, and moves at a tenth of Sandler's speed, all of the time.  Julia Fox puts in a good, even lovable performance as Howard's girlfriend Julia, and Idina Menzel has the perfect face and expressions for Howard's cheated-on wife.   There's a great seder scene, and I'm always a sucker for Yiddishkite.

Back to Howard, the thing is that he knows what he's doing, as a jeweler as well as a gambler.  He has almost limitless confidence, however, and although it's often borne out, it also leads him to make difficult and dangerous bets.   The formula leads Howard to near misses with fortune and death, and a face that looks increasingly like a punching bag.

But basketball not boxing is the sport in this fast-paced movie, and it all builds up to a crucial, complex, multi-faceted bet on a basketball game.

You can bet on it yourself if you like, but you'll never guess how the movie ends.

Babylon Berlin 3: Complex Pleasures and Inescapable Conclusions

I binged the third season of Babylon Berlin on Netflix the past few nights, having seen and immensely enjoyed the first two seasons two years ago, in May 2018.  Enjoyed doesn't do the series justice, because it taps all manner of emotions, including dread and disgust at the growing Nazi shadow on late-1920s Berlin, where the new reeds of democracy still held tenuous sway.  I felt the same way about the third season.  Enjoyed doesn't do it justice.  What I've been able to take away from this remarkable narrative is far more complex and valuable than mere enjoyment.

Babylon Berlin is really a variety of genres, rivetingly rolled into one.  It's historical drama, with pinpoint accuracy and all kinds of revelations, ranging from the brass dials of an instrument used to administer shock therapy to a device that records an in-person conversation, without one of the parties being aware.   It's a top-notch whodunnit homicide detective story, with all kinds surprises and unexpected turns.  It's in German, which offers a special pleasure for my Yiddish ears to hear (Yiddish is middle-German).  And it's pretty good romance, as well, with Volker Bruch and Liv Lisa Fries doing a fine job as detectives Gereon Rath and Charlotte Ritter.

But my two favorite threads in Babylon Berlin Season 3 are the focus on the making of a film, an early talkie, in 1929, and the political context, which I'll tell you about after the film.  The film intersects with the murder story, as the lead actress and her replacement get killed by a masked intruder ("If only she'd stuck with silent films," someone comments about one of the actresses, and her inability to hit the high notes).  Not only that, but the film mutates into a blend of science fiction and horror - science fiction about androids, and the human-machine interaction, making Babylon Berlin just ideal to watch before the Sunday-night conclusion of the third season of Westworld.  (The Weimar Republic made a great contribution to early science fiction movies in our reality, as Fritz Lang's silent movie Metropolis amply attests.) You can't ask for more than that.

But Babylon Berlin does deliver more, in the subtle way, with occasional bursts of raw violence, that the Nazi menace is intruding ever more prominently into life in Berlin, from lead detective Rath's son reading Mein Kampf and joining the Hitler Youth to Nazis blowing up buildings. I said in my review of the first two seasons that comparisons between what happened to the democracy of the Weimar Republic in the late 1920s and early 1930s, and Trump and his followers in America right now, is inescapable.  The third season of BB introduces yet another element in the decline and fall of the Republic: the stock market crash in New York City, which will ripple across the Atlantic and shake Germany, and therein provide another reason for German citizens to lose confidence in their democracy.

This is a crucial and sobering lesson.  Stay tuned.

See also Babylon Berlin (1 and 2): Eye-Opening History

 

They're coming out into the open, for the first time in centuries ....

Unorthodox: Less and More than Shtisel

How to start this review of Unorthodox?  If you liked Shtisel, you'll love Unorthodox.  Or maybe, if you loved Shtisel, you'll like Unorthodox.   The distinction gets at the intersections but significant differences between these two outstanding series.

Both Netflix series are wonderfully drenched in all manner of Yiddishkite, especially the language that my grandparents (born in Europe, moved to New York City) spoke fluently, my parents spoke on occasion in the hope that my sister and I would not understand it, but we both nonetheless learned a passing dollop of, and passed on to our children.  Both series deal with the bumping of Orthodox Jewish communities into the rest of the world, and their struggle to succeed in this world while maintaining their own identities.  Both have a superbly talented young star in Shira Haas.

But there the overlap ends.   Shtisel has much more humor along with its angst.   Unorthodox is usually cutting-edge serious.  Shtisel has 24 episodes in two seasons.  Unorthodox's complete single season consists of four episodes.  Shtisel tells multiple stories, all fictional.  Unorthodox tells a single story, of a young, pregnant wife (powerfully played by Haas) who gets on a plane to Berlin of all places to escape her orthodox Jewish community in Brooklyn.  And that narrative is based on a true story.

Come to think of it, art figures prominently in both series.  Painting plays a major role in Shtisel, as does music in Unorthodox.   In both cases, a central character has talent not exactly encouraged by Orthodox community.   I won't say anything more about the music in Unorthodox, except that the best episode features a breathtaking and determinative performance.

I will say, on behalf of Jewish Orthodox communities, that they arose and continue as a response to the very real discrimination and deadly attacks that Jews have been subject to over the years.  In a memorable scene, the rabbi in Brooklyn recounts how Jewish integration into the larger world didn't stop the Nazi holocaust.  As I said, there's far more suffering than humor in Unorthodox.

But you'll nonetheless be greatly uplifted if you watch it.

See also Shtisel 3: Cheesecake and Faith

 

The Plot Against America 1.1: Yet Another Alternate Nazi History, with Forshpeis

I find myself in the less than jubilant position of reviewing the third television science fiction series about Nazis - science fiction, loosely defined - in the past three days.  The first would be Hunters (my review here), the second Westworld (more, precisely it's season three coda; my review here), and now The Plot to Against America on HBO.  I'll leave it to you to explain why Nazis are so popular on American television these days.

The Plot hinges on Charles Lindbergh, who in real history was a non-interventionist and likely Nazi sympathizer in the 1930s, bur did fight against the Nazis and Japanese in the Second World War. In the television series, he beats FDR in the Presidential election of 1940, and (though I haven't read the 2004 novel by Philip Roth or seen more than the first episode of the series) presides over an America in which anti-semitism is rampant.

Philip Roth and Philip K. Dick are two very different kinds of brilliant writers, so don't expect any Man in the High Castle (in my view, probably the best science fiction series ever on television) in The Plot Against America alternate history.  Instead, think about Roth's other notable works, like Goodbye Columbus, which focus on the pleasures and problems of Jewish life in mid-20th-century New Jersey.  You'll find lots of that in the first episode of The Plot Against America, which introduces the extended Levin family, its struggle to move up in the middle class and fend off the rising Nazi tide. 

The details in 1940 Newark are spot on, ranging from the Esso gas station to the clothing to the Yiddish sprinkled in the conversations.  This has to be the first time I've heard the word forshpeis in an American TV drama.  It brings back wonderful memories of both my grandmother's voice and her forshpeis.   

The acting in The Plot Against America is top-drawer, too, with Winona Ryder, John Turturro, and David Krumholtz in important roles, eating rolls that made me hungry, and I'll be back here next week with a review of the second episode.

 

Curb Your Enthusiasm 9.5: Schmata at Large

Well, I held off reviewing Curb Your Enthusiasm 9.5 as long as I could - because I don't usually review comedies - but it deserves a review, if only because it had the word "schmata," the second in as many weeks for a show on HBO (the first was in The Deuce, from Harvey).

This time, in Curb, it's from Larry, but 9.5 was one of those episodes with lots of good schtick and lots of good lines, from everyone.   It was also good to see Larry maybe start up a romance with the mail deliverer aka mail woman, though, of course, given it's Larry, he torpedoes it before it's really had a chance to begin.

Other good segments delivered their expected dose of humor wrapped in insult, ranging from Larry commenting on the baby with Asian eyes to Larry refusing to go along with the "thank you for your service" to Jeff's soon-to-be-son-in-law, who served in Afghanistan.

But the funniest shtick has to be the mixture of words and pantomime, carried over in at least two scenes, wherein Larry tries to determine if the chef "made a face" when the waiter presented Larry's request that the dish be broiled rather than sauteed.  As in all things Larry, his goal of knowing what was on the chef's face makes perfect sense: you don't want to get the chef to change the order he or she's expecting or accustomed to preparing, unless you're sure that's ok with the chef.

My wife and I discuss this every time one of us is thinking of asking if a dish can be slightly changed to our liking, especially at a restaurant where we've never eaten before.  Once, on Cape Cod about ten years ago, my daughter and I asked for our fish to be prepared slightly differently, and it came out way too dry.  But my wife didn't ask to have her order changed, and she said her food was delicious.

I'd like to see Larry and the mail deliverer give it one more shot, maybe in a restaurant, where Larry can opine about changing the order and gauging the chef's face, and no one will be wearing a schmata of any kind.

See also: Curb Your Enthusiasm 9.1: Hilarious! ... Curb Your Enthusiasm 9.2: Wife Swapping ... Curb Your Enthusiasm 9.3: Benefits ... Curb Your Enthusiasm 9.4: "Hold You in his Armchair"





It started in the hot summer of 1960, when Marilyn Monroe walked off the set of The Misfits and began to hear a haunting song in her head, "Goodbye Norma Jean" ...

"Working with Marshall McLuhan" and Marilyn Monroe on The Deuce 1.7!

Just caught up with The Deuce 1.7 tonight - it was on HBO on Sunday - and was delighted to find it joined the eminent ranks of The Sopranos and Mad Men, with a reference to Marshall McLuhan!

It happened liked this ...

Candy (Maggie Gyllenhaal) working on a porn film with Harvey (David Krumholtz, who is getting to look a lot like Ron Jeremy) - actually, I guess you could say Candy is Assistant Director, or Assistant to the Director, I could never make sense out of those titles - buys a red bed cover, to replace the green one, which is making her "sea-sick," and may or may not be the underlying reason for the listless sex acting.

Krumholtz left, porn filmmaker Ron Jeremy right,  see what I mean?



Harvey asks Candy how much she paid for the "schmata" (inexplicably slightly but distinctly mispronounced, with no emphasis on the "schma") - but my ears perked up immediately, as they do anytime I hear Yiddish on a television show.

"Red is a horny color," Candy replies.  "you ever see a car ad?"

And Harvey comes back with "What, I am working with Marshall McLuhan?"

Now, that's not the best reference to McLuhan I ever heard - nothing about hot and cool, which would've worked well here - but, then, the references to McLuhan on The Sopranos and Mad Men were no great shakes, either.  And then there's this: The Deuce takes place in 1971, which is a little after McLuhan's heyday in the 1960s, and before he came back with the now classic appearance in Woody Allen's Annie Hall (1977), so would a porn film director really have come up that reference at that time? But, hey, I'm not complaining, I'm happy.

And The Deuce 1.7 was excellent in other ways, too, with Candy really beginning to make her mark (I was going to say, come into her own, but thought the better of it) as a porn director, and a surprise shooting (of a gun) which changes a lot of things.  And, as icing on the cake, Marilyn Monroe was mentioned in the episode (icing on the cake certainly for me, since my Marilyn and Monet was just published last week).

This is an excellent series, not surprising with David Simon, Richard Price, and George Pelecanos in creative production roles, and I'd be enjoying it even without the nudity and mentions of McLuhan and Marilyn.



here's a panel we did about Marshall McLuhan just last week - I
actually sing a few lines from a Paul McCartney song at 1hr 3min 32 sec

 
And here's my novelette just published about Marilyn Monroe -
which starts in the hot summer of 1960, when Marilyn walks off the set
of The Misfits and begins to hear a haunting song in her head,
"Goodbye Norma Jean" ..


See also The Deuce: NYC 1971 By Way of The Wire and Mad Men 1.6. The Medium is the Message! -- and Max & Domino for more on Marilyn


and, ok, you twisted my arm - here's a recent little
book I wrote about McLuhan

Bones 10.8: Daisy's Doula, a Shmo, and a Farshtunkeneh Chochem

A tender Bones 10.8 tonight, with the non-murder part of the episode centered on Lance and Daisy's baby, Daisy's doula, and a conflict between spiritualism and science which often animates the background of the show.

But the real treat in this episode was the conversation with Booth and Bones, joined by Aubrey, about the nature of the players in the killing.  Booth's mention of a "shmo" on the street triggers one of the most memorable - and hilarious - disquisitions of Yiddish ever seen on television, not to mention a television drama, all delivered in this case from Bones, in her inimitable fashion.

Before the brief scene is over, we get Bones not only saying shmo, but chochem (a smart person, or someone who thinks he or she is smart), capped off with "farshtunkeneh chochem" (literally, a stinking wiseacre, but, more figuratively, a smart aleck who is also a no-good-nic).   Bones gets all of this out, moreover, with pretty passable Yiddish pronunciation, missing maybe just one "n" in farshtunkeneh.

Yiddish words have been popping up on television for years, but usually just a word or two, most frequently shmuck or meshugeneh (a crazy person).   Kudos to Bones for once again pushing the Yiddisheh envelope, in a way that Larry David of Curb Your Enthusiasm would kvell over (be proud of).

Meanwhile, Daisy, already in contractions, in encouraged by Bones to focus on the case. Fortunately, the doula was out of the birthing room - Daisy sent her packing - and Daisy's analysis moves the investigation forward.   Daisy has the baby - a bouncing boichick - and the episode ends on a sad, sweet, beautiful note.   More important than science, spiritualism, and their differences is the family of friends that Bones epitomizes so very well.

See also Bones 10.1: The Fulcrum Changes ... Bones 10.2: J. Edgar and the DNA Confession ... Bones 10.3: Meets Rush and a Dominatrix ... Bones 10.4: Brennan and Angela on a Bench in the Playground ... Bones 10.5: Two Jokes and Three Times ... Bones 10.6: A Thousand Cuts ... Bones 10.7: The A-Word and Quarks

And see also Bones 9.1: The Sweet Misery of Love ... Bones 9.2: Bobcat, Identity Theft, and Sweets ... Bones 9.3 and NCIS 11.2: Sweets and Ziva ... Bones 9.4: Metaphysics of Death in a Television Series ... Bones 9.5: Val and Deep Blue ... Bones 9.6: The Wedding ... Bones 9.7: Watch Out, Buenos Aires ...Bones 9.8: The Bug in the Neck ... Bones 9.9: Friday Night Bones in the Courtroom ... Bones 9.10: Horse Pucky ... Bones 9.11: Angels in Equations ... Bones 9.12: Fingernails ... Bones 9.13: Meets Nashville, and Wendell ... Bones 9.14: "You Cannot Drink Your Glass Away" ... Bones 9.15: Hodgins' Brother and the Ripped Off Toe ... Bones 9.16: Lampreys, Professors, and Insurance Companies ... Bones 9.17: Spartacus in the Kitchen ... Bones 9.18: Meets Day of the Triffids ... Bones 9.19: The Cornucopic Urn ... Bones 9.20: Above the Law ... Bones 9.21: Freezing and Thawing ... Bones 9.22: Promotion ... Bones 9.23: The New Intern ... Bones Season 9 Finale: Upping the Ante

And see also Bones 8.1: Walk Like an Egyptian ... Bones 8.2 of Contention ... Bones 8.3: Not Rotting Behind a Desk  ... Bones 8.4: Slashing Tiger and Donald Trump ... Bones 8.5: Applesauce on Election Eve ... Bones 8.6: Election Day ... Bones 8.7: Dollops in the Sky with Diamonds ...Bones 8.8: The Talking Remains ... Bones 8.9: I Am A Camera ... Bones 8.10-11: Double Bones ...Bones 8.12: Face of Enigmatic Evil ... Bones 8.13: Two for the Price of One ... Bones 8.14: Real Life ... Bones 8.15: The Magic Bullet and the Be-Spontaneous Paradox ... Bones 8.16: Bitter-Sweet Sweets and Honest Finn ... Bones 8.17: "Not Time Share, Time Travel" ... Bones 8.18: Couples ... Bones 8.19: The Head in the Toilet ... Bones 8.20: On Camera ... Bones 8.21: Christine, Hot Sauce, and the Judge ... Bones 8.22: Musical-Chair Parents ... Bones 8.23: The Bluff ... Bones Season 8 Finale: Can't Buy the Last Few Minutes

And see also Bones 7.1: Almost Home Sweet Home ... Bones 7.2: The New Kid and the Fluke ...Bones 7.3: Lance Bond and Prince Charmington ... Bones 7.4: The Tush on the Xerox ... Bones 7.5: Sexy Vehicle ... Bones 7.6: The Reassembler ... Bones 7.7: Baby! ... Bones 7.8: Parents ...Bones 7.9: Tabitha's Salon ... Bones 7.10: Mobile ... Bones 7.11: Truffles and Max ... Bones 7.12: The Corpse is Hanson ... Bones Season 7 Finale: Suspect Bones

And see also Bones 6.1: The Linchpin ... Bones 6.2: Hannah and her Prospects ... Bones 6.3 at the Jersey Shore, Yo, and Plymouth Rock ... Bones 6.4 Sans Hannah ... Bones 6.5: Shot and Pretty ... Bones 6.6: Accidental Relations ... Bones 6.7:  Newman and "Death by Chocolate" ...Bones 6.8: Melted Bones ... Bones 6.9: Adelbert Ames, Jr. ... Bones 6.10: Reflections ... Bones 6.11: The End and the Beginning of a Mystery ... Bones 6.12 Meets Big Love ... Bones 6.13: The Marrying Kind ... Bones 6.14: Bones' Acting Ability ... Bones 6.15: "Lunch for the Palin Family" ...Bones 6.16: Stuck in an Elevator, Stuck in Times ... Bones 6.17: The 8th Pair of Feet ... Bones 6.18: The Wile E. Chupacabra ... Bones 6.19 Test Runs The Finder ... Bones 6.20: This Very Statement is a Lie ... Bones 6.21: Sensitive Bones ... Bones 6.22: Phoenix Love ... Bones Season 6 Finale: Beautiful

And see also Bones: Hilarity and Crime and Bones is Back For Season 5: What Is Love? and 5.2: Anonymous Donors and Pipes and 5.3: Bones in Amish Country and 5.4: Bones Meets Peyton Place and Desperate Housewives and Ancient Bones 5.5 and Bones 5.6: A Chicken in Every Viewer's Pot and Psychological Bones 5.7 and Bones 5.8: Booth's "Pops" and Bones 5.9 Meets Avatar and Videogamers ... Bad Santa, Heart-Warming Bones 5.10 ... Bones 5.11: Of UFOs, Bloggers, and Triangles ... Bones 5.12: A Famous Skeleton and Angela's Baby ... Love with Teeth on Bones 5.13 ... Faith vs. Science vs. Psychology in Bones 5.14 ... Page 187 in Bones 5.15 ...Bones 100: Two Deep Kisses and One Wild Relationship ... Bones 5.17: The Deadly Stars ...Bones Under Water in 5.18 ... Bones 5.19: Ergo Together ...  Bones 5.20: Ergo Together ... Bones 5.21: The Rarity of Happy Endings ... Bones Season 5 Finale: Eye and Evolution

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A different kind of police fiction