To the out of touch president, add the out of touch flack. I know Christine Pelosi is Nancy's daughter (meaning she has no ethics and will whore and lie). Even so, I was shocked to read her latest take at Politico: "I hear no Democrat wishing Obama-Biden had lost to McCain-Palin or urging us to go back; to the contrary, the frustration comes from the pace and breadth of change. What I heard from Democrats at the DNC meeting and at events around the country is this: we campaigned for Barack Obama as he pledged to be post-partisan and to deliver change, and when it comes down to a choice between post-partisanship and change, the president will choose change."
I honestly believe they include her to make the others look smarter. Christine, outside of your horse-face set, you could encounter many Americans who wish that Cynthia McKinney or Ralph Nader had won. Many of those would be Democrats. It's always either or for a nepotism hire. You know what, it's bad enough that she's a trust fund baby (I am as well) but for her to be unable to make her own career, for her to be unwilling to go out on her own, for her to ride Mommy's coattails is just pathetic.
We never saw Christine at an anti-war rally, did we? No, not even when Bush was in the White House. Christine and people like her don't do a damn thing but take up space and, when confronted, hiss, "My mommy says . . ." She's George W. Bush and we all know how that case of nepotism nearly destroyed our country. Truly, Christine, get your own life.
"TV: If no one wants to solve it, is it a mystery?" (Ava and C.I., The Third Estate Sunday Review):
Which is rather surprising when you grasp what Rubicon so desperately wants to be: A TV version of an Alan J. Pakula film. It wants to be Klute, The Parallax View, All The President's Men, Comes A Horseman and The Pelican Brief all rolled into one. Instead it's 1974's The Conversation . . . if Frank Capra -- and not Francis Ford Coppola -- had directed that film. Where there needs to be tension, there is slack. Where there needs to be an edge, there's a smiley face.
Rubicon tracks Will who works as an analyst for a US think tank. A crossword prompts questions -- a series of crosswords. It leads to the death of David, Will's boss, and to Will being promoted to David's spot. Will's confused by the death because David, who was also his father-in-law, parked his car at the train station in the parking spot numbered . . . 13. David would never have done that! And the parking spot was labeled "13" so David would have seen it!
While Will's puzzling that, Katherine (Miranda Richardson) is puzzling over her billionaire husband's death which doesn't make sense. She and their child are playing outside, Tom's meeting inside with a number of men and then he's killing himself?
At around this point, you're expecting the show to involve you. It never does. It also seems unaware that just talking about danger -- and filming badly lit scenes -- does not provide enough for to satisfy viewers. Rubicon plays the cards too close to the vest, never giving viewers enough to involve them. The only way you get around that is providing action thrills and spills but that never happens on this show that seems determined to make Masterpiece Theater look like snuff films by comparison.
My only complaint about Ava and C.I.'s review is when it was published. I actually caught the show last week because on the radio (NPR, don't know which program) there was a review of it. The review was a rave. Then I happened to be flipping the channels that night and Mike said "Stop!" because that was just starting. So we watched. We kept waiting for the show to start moving. It never did. It was so boring.
"Iraq snapshot" (The Common Ills):