Two and a Half Men

Two and a HaThey say that lightning never strikes the same place twice.

But Two and a Half Men star Jon Cryer has revealed he could not believe it when the show became engulfed in the fallout of yet another high profiled meltdown.

He admitted he could not believe when Ashton Kutcher, who replaced the fired Charlie Sheen, showed him a video of  show star Angus T. Jones' infamous 'filth' rant.

The 19-year-old actor, who has been in the show since its inception, launched a tirade against the sitcom in a video he filmed with his church pastor.

But while he was shocked, he said living through former co-star Sheen's falling out with creator Chuck Lorre left him better prepared for it than Ashton.

He told Fox411: 'It is surreal to be part of several internet s*** storms. 

'When the latest one happened Ashton came up to me and he looked like he had seen a ghost and he was like, "Did you hear about Angus?"

'And I was like, "He is ok?" He said, "sort of," and he showed me the video.

'And as I said having become a veteran of the internet s**t storm afterward I just looked at Ashton and said, "Well do you think he still wants to go in on the crew gift?"

'It’s just been one after the other. 'My life has taken a lot of strange turns.

'Mostly I’m just glad everybody is still alive.'

And while some people have claimed the show is cursed, the Pretty in Pink favourite doesn't agree.

The star, who has one two Emmys for his role as Alan Harper on the CBS hit, said: 'It is crazy. I have no explanation for it. 

'You could say the show is cursed except the show has been cursed with being monumentally successful so it’s hard to call that a curse.

'Angus’ one was so minor because I wasn’t actually worried that any actual harm would come to him and he’s already been back to work several times.'

Jimmy Kimmel LIVE !

Host Bio

As host and executive producer of the late-night talk show "Jimmy Kimmel Live" for the ABC Television Network, Jimmy Kimmel is a busy man. Like most talk shows, "Jimmy Kimmel Live" features celebrity guests, comedy bits and live music. Unlike most talk shows, it also features Jimmy's family – including his cousin Sal, his parents and Aunt Chippy. His childhood best friend, Cleto Escobedo, serves as bandleader, alongside his dad, Cleto Escobedo, Sr., on saxophone. "Jimmy Kimmel Live" airs weeknights at 12:00 a.m. 

Kimmel has hosted the American Music Awards on ABC five times. He also was the host of the ESPY Awards in July 2007. He co-created and executive-produced the hit MTV2 series' "The Andy Milonakis Show" and "Crank Yankers." In addition, Kimmel co-hosted Comedy Central's "The Man Show," served for four seasons as on-air prognosticator for "Fox NFL Sunday," and co-hosted Comedy Central's long-running and popular game show, "Win Ben Stein's Money," for which he received two Emmy nominations and one win for Best Game Show Host in 1999. Kimmel has also served as roastmaster for Comedy Central's roasts of both Hugh Hefner and Pamela Anderson. 

Kimmel's company, "Jackhole Industries," formed with partners Daniel Kellison and Adam Carolla, is (but will not be held) responsible for "Jimmy Kimmel Live," "The Man Show," "Crank Yankers," "The Andy Milonakis Show," "Gerhard Reinke's Wanderlust," "Too Late with Adam Carolla," "The Adam Carolla Project" and the made-for-Comedy Central feature film, "Windy City Heat," which won the 2005 Comedia Award for best film at the Just for Laughs comedy festival in Montreal. Kimmel also served as a creative consultant to Adam Carolla's syndicated morning radio show. 

Born in Brooklyn, NY, and raised in Las Vegas, NV, Kimmel began his career in morning radio. Fired from stations in Phoenix, Seattle, Tampa and Tucson, Kimmel's luck finally changed as Jimmy the Sports Guy on KROQ-FM Los Angeles' "Kevin and Bean Show," where his popular comedy sportscasts never even got him fired once. 

Kimmel currently resides in Los Angeles.

‘Nashville,’ Season 1, Episode 7, ‘Lovesick Blues’:

It has been two weeks since we last convened in Nashville so let’s get right to it. Juliette and Sean Butler are getting cozy with their lips at Juliette’s house when her manager breaks the news that football fans and tabloids are blaming her for Sean’s poor performance in recent games. At the label, she gets more bad news—they only want her to sing one song at the Edgehill anniversary concert at Ryman Auditoriam and moreover, they want her to do a duet with Rayna. Juliette Barnes is not amused.

Avery is feeling kind of sad even though his career is taking off. His new manager has booked a gig at a fancy venue but he can’t really enjoy his change in fortune because he knows Scarlett won’t be in the audience, staring at him adoringly. Avery made his bed but he sure doesn’t like having to lie in it.

At the Bluebird, Deacon is performing a mournful song and Scarlett can barely hold it together, crying silently, wiping the tears away. The break up has left her a bit of a mess. Gunnar sidles up to her, tries to make sure she’s ok, and suggests she writes her tears away but she says, “it’s just not there.”

In a late evening meeting just between candidates, Coleman tells Teddy he learned a lot from Lamar about playing to win and gives Teddy until the weekend to withdraw from the mayoral race. Teddy gets indignant, particularly when Coleman hands him the pictures of Teddy in a questionable embrace with Peggy.

There’s also plenty of indignation to go around at Juliette’s house as she talks through all the reasons why she doesn’t want to perform with Rayna. Unfortunately, her manager disagrees and yet again, she might not get her away. She cannot seem to stop her star from falling further still.

Lamar, Tandy, and Teddy are scheming at Lamar’s home, trying to find a way toexplain the photos of Teddy and Peggy. Teddy, “of course,” doesn’t want to subject his wife and daughters to the scandal but Lamar and Tandy insist Teddy can explain the photos without disclosing his credit union embezzling misdeeds so long as they get rid of Peggy. It’s not clear if they mean to rid Nashville of Peggy permanently or temporarily but knowing Lamar, either option is possible.

Deacon is leading the house band for the anniversary show so he runs into Rayna  at rehearsal and they fall into an easy rhythm real fast. You can’t fight chemistry. They’re interrupted by Marshall, the head of the label, who tells Rayna she’ll have to perform a duet with Juliette. Rayna says hell no, and insists she doesn’t take orders while Marshall says he’s not asking. He walks away with the threat of releasing her greatest hits album, immediately, lingering in his wake. A little later, Rayna has a change of heart after talking to Liam. She tells Buck to tell Marshall she’ll do the duet so long as she gets to make her own album, with her music, produced by Liam. Looks like Rayna is learning how to play the game.

Hailey, Gunnar’s girlfriend, tells Scarlett the best way to get over a man is to get under another. At some point we’ll have to talk about how this is not really true. In the meantime, Scarlett gets all gussied up and when Gunnar sees her at the bar, all he can say is, “Wow.” Not a moment later, a man has asked Scarlett to dance.  After, she and the guy are kissing and Gunnar ruins the moment by pulling them apart and acting all offended and puritanical.

It’s a diva showdown at the anniversary show rehearsal. Juliette cuts right to the chase by letting Rayna know they can skip pretending to like each other. Rayna smirks and shrugs it off but not for long. It’s clear they can’t agree on a song, neither woman offering the other an ounce of respect. Rayna cuts Juliette right down to size by talking about how she helped make the label and how Juliette hasn’t earned her place. Juliette is quietly stunned and stalks out. Deacon, ever her knight in shining armor, sets Rayna straight and reminds her that once upon a time, Rayna was told her sound wasn’t country enough. He leaves her with his cold disapproval and a copy of Undermine, the song he co-wrote with Juliette, telling Rayna the younger singer has it in her to be a great songwriter. Rayna stares after him, quietly stunned, too.
At the hallowed Ryman Auditorium, Juliette is trying to gather herself and stay in the moment. Sean Butler shows up with flowers and all kinds of romantic talk about how much he wants to make love to her but won’t because he respects her too much and wants to get to know her. Millions of eyes roll, such cynical hearts.

Right before they go on stage, Rayna and Juliette agree they never want to perform together again which is television foreshadowing for, They’re going to be performing together all the time now. Turns out, they wrote a song together, a tough girl, put a man in his place anthem. Together, they make some magic, bringing funk and sass. From the audience, Marshall says the song is going to be huge. They strut all over the stage and flirt with Deacon and then Liam and Deacon even get into some guitar dueling. It’s all very exciting. By the end of the song, the crowd goes wild. Liam and Deacon fist bump. Even Rayna and Juliette give each other careful smiles. There’s gonna be some change coming to Nashville. You can just tell.

COMMUNITY Season 4 Episode 11 Basic Human Anatomy

ANNIE AND SHIRLEY PLOT TO SAVE THEIR SPOT AS CLASS VALEDICTORIAN – TROY AND ABED ACCIDENTALLY SWITCH BODIES – When Annie (Alison Brie) and Shirley (Yvette Nicole Brown) learn that Leonard (Richard Erdman) is actually holding the spot as the class valedictorian, they join forces to bring him down. Meanwhile, Troy (Donald Glover) and Abed (Danny Pudi) reminisce about one of their favorite body switching films and when they inadvertently re-enact a critical scene, things start becoming a little funky at Greendale. Joel McHale, Chevy Chase, Gillian Jacobs, Ken Jeong and Jim Rash also star.

vampire diares Season 4, Episode 20 - The Originals

Klaus goes to New Orleans to investigate a mysterious piece of information about a plot against him. His research leads him to an old protege of him, Marcel, a vampire who is in control of both the humans and supernatural creatures of the city. Elijah is determined to help Klaus get his redemption, follows him and finds out that Hayley, who had visited the city searching for clues of her family, was captured by a powerful witch, Sophie. At the same time, in Mystic Falls, Damon and Stefan go on with their plan with Elena, and Katherine reveals a vulnerability to Rebekah and asks her to make a message delivery.

Grey's Anatomy

Episode 21
 Sleeping Monster

Bailey finds herself at the center of a CDC investigation surrounding the death of several of her patients, as Jackson and the rest of the board members argue over how to address the crisis with the public. Meanwhile, Cristina teases Alex about his unspoken feelings for Jo, and Owen continues to take special care of Ethan as the condition of his parents remains uncertai.

The Following "The End Is Near" Review: Not Near Enough

Being Debra Parker seems like a lot of work.

Between giving people obvious orders so that the audience understands why your team is about to be comically ineffectual and finding ways to become a liability at every turn, she has to be exhausted at the end of the day. I imagine that she must come home, kick off of those shoes, melt into an Olivia Pope-inspired bowl of wine on a stem, and just reflect on how she's George Costanza-ing her career.

Although, I'm not really sure it's George Costanza-ing, because that would mean doing the opposite of your impulses to better results. It seems like she thinks of the best decision, does the opposite, and it becomes the worst thing that ever happened to her.

It troubles me, watching how ineffectual she is as a manager, how passive she is as a leader, and how weak she is while being in charge of a team that's been proven to constantly be in danger while she can barely control her weapon. Did you see her shooting in the hallway? Each kickback was like someone had just caught her gun while fishing and refused to let that treasure go. Emma had a better time handling the recoil, and she's just a frail pixie visiting our human world. Also, I've been yelling "Stop going down dark hallways alone!" so often that I'm starting to think people on TV can't hear me.

So she did go down that hallway alone and she did send that poor soldier away without any backup or cover and she did get buried alive (or at least that's what we were led to believe from how the episode trailed off). Which is sort of fitting, because so many of Poe's characters in stories revolving around being buried alive suffer from some sort of catalepsy, and Parker can often be confused for being completely braindead.

Oh, that might not be fair to Parker, since she's supposed to just be a cult expert, not a natural born leader or gruff military type. But the bureaucracy of the FBI seems to always set her up to fail and it's miserable to watch. There are times where I feel like our weekly poll could be comprised entirely of things Parker did.

But she can't take all the blame for this week's shenanigans because everyone got duped by some weak plans by a hack writer. I can't help but think that if they could've jumped to the same conclusion we all arrived at almost instantly, everything would've ended up a little happier. Let's run through our collective thought process regarding the episode: Reporter mentioned that everyone should hide out in the recreation center. The murder cult people were not only out and about, but right there in the same crowd, and they even stabbed the reporter. They were all in danger. We knew they were all in danger because, even without reading "Mask of the Red Death," any time people gather together in one spot and it's expressly mentioned, it's a terrible idea.

But Parker's FBI didn't have the benefit of our limited omniscience. They did, however, have a working knowledge of the story Carroll hinted at all episode, from the book to the stabby telegram. Watching them work it out among themselves was painful. As soon as they mentioned the plot of "Red Death," you all knew immediately where Carroll's minions were. While they struggled to find the answer, you were painfully aware of what the next step would be. But Ryan's seeming precognition of Carroll's behavior didn't help him.

I don't blame Hardy & Co. for running for the evacuation after what felt like a tortuously long scene. I mean, it was weird that the police wanted to round up civilians like sitting ducks, since they didn't seem to be doing a whole lot of security on the building (maybe they asked, "Are you in a murder cult?" at the door). But the sheer theatricality, even if it was convenient for Carroll that the police did ask everyone to assemble rather than employing a curfew or telling everyone to stay in their homes until they were done sweeping the area (maybe that's just us living in a post-Boston-bombing world), would be enough to attract the full force of the FBI's mighty hand. With all these pieces falling into place, how could this not be the plan Carroll had all along?

The other person I don't blame: Jacob. I liked that Jacob looked around and basically said, "Hey, I don't want to be a red shirt." Because Aaron—my pick for standing on Carroll's charred remains and laughing hysterically as the last one left—died, really, for no good reason. The followers at the rec center were basically target practice for the Keystone Kops (did Hardy add to his body count?). And the cult has a history of losing so many people along the way, martyrs for Carrollism. Jacob said he loved Joe (a facet of the story that has yet to convince me—Carroll doesn't seem engaging enough to command that kind of adoration) but it was time to get the heck out.

Forgiving Emma was terrible, though. When Emma came in sobbing, "I hate what I did to you," I wanted Jacob to still be furious. He was trapped. There was nothing else but death for him because he couldn't run and there was definitely no chance for him to have a normal life again. He had to stay in the cult and do Carroll's bidding. His life was ruined. And I get the sense that all of that was Emma's fault. He just wanted to do a couple activity. But instead of taking a trip to the Grand Canyon or going on a spa getaway, Emma wanted to be part of a cult. Her trespasses, leaving Jacob to die and being Joe's sexual outlet while he was in crisis, are the kind it's okay to hold a grudge for. But he forgave her. And he paid the price for being so very stupid. But it's just as well. How many times could Jacob come around the corner and announce, "You killed them." Yes, Jacob. She's in a murder cult.

Speaking of forgiveness, the show desperately wants us to forgive Claire for being a harpy for most of the season. After we facepalmed last week when Claire stabbed once and hoped Carroll would just keel over from a flesh wound, she made herself useful this week in freeing the hostages. I can appreciate that she stabbed Carroll again in the same spot because, cripes, that has to hurt. But it's interesting that she never went in for the kill. She basically had Joe on the ropes while Emma and Jacob were, based on how long it took them to react, arranging the cop bodies in dirty positions ("I think that's illegal in Virginia!"). She could've ended it right there by putting him down. Instead, she kicked him and caused him more pain. Then they ran. Obviously, the show doesn't want to kill Carroll off, but considering all the hate she harbors and the obvious disregard for his well-being, it's becoming more apparent that she'd rather not be the monster slayer.

The next time we meet will be the finale! Who will survive? Who will Ryan shoot next? Will Carroll kill Claire and dump her in the ocean? Or will Claire get Stockholm Syndrome and want to stay with her ex-husband? Will Hardy have any more awkward and inappropriate post-coital pillow talk? Stay tuned for the (almost assuredly) ridiculous conclusion to Season 1 of The Following!

NOTES

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– The final chapter has begun? This is the end of the book? Was it a novella? I know that Carroll had some other things in mind that Roderick's betrayal and scores of dead followers may have affected but Joe really made it seem like he had all sorts of puzzles and tricks for Ryan but, outside of that one "kill all the Claires" chapter, there weren't really a whole lot of obstacles. I bet Joe's feeling pretty sheepish about making a big deal about it early on. Probably wished he'd slow-played his hand a little.

– Part of the Carroll School of Killing with Love must be shushing them while they die. It's an art to murder someone and then tell them to be quiet while life escapes them. And the dying people do it like they have something to lose. Hey, you're dying. If you want to sob or yell or gurgle the blood that's filling your throat, you should go ahead and do it. What's the worst that can happen? You die faster?

– Hey, FBI agents: Stop getting kidnapped.

– I'm 95 percent sure Parker's going to get out of the box alive, but why are the cult members doing that? You have to wonder why they're going through the trouble of burying her, how they had the box available to bury her in, and what the overall purpose of keeping her alive long enough to die slowly is? I'm guessing all will be revealed next week but it seems pretty silly right now.

Castle "The Squab and the Quail" Review: The Foxy Mr. Fantastic

It's been a while since Castle and Beckett really spent much time examining the nature of their new-ish relationship. While the early goings of this season were often steeped in moments meant to have Castle and/or Beckett stop to think about how viable this coupling really is, the latter half of the season has, thankfully, mostly just been willing to accept that they're together, without having to write an entire episode around the topic. Given that merciful break, I suppose I can't be too mad about the existence and plotting of "The Squab and the Quail," an episode so obsessed with trying to create meaningful cracks in Castle and Beckett's love that it all but forgot to be much of an episode of Castle, otherwise.

There was, of course, a murder to investigate. A wealthy venture capitalist found himself on the wrong end of a poisoned entree at a Dorsia-like NYC restaurant, but as we quickly learned, he was not really the target. Instead, the killer was after wealthy inventor, philanthropist, and all-around super nice handsome boy Eric Vaughn, played by Welsh actor and former Mr. FantasticIoan Gruffudd.

Vaughn was presented as a cross between Steve Jobs and George Clooney, a man so aggressively handsome and successful that other guys more or less wilt in his presence. So when the episode kicked off with Castle essentially ignoring Beckett's slinky come-hitherings to the bedroom in favor of playing another round of some online multiplayer shooter, the seeds were planted for a full episode of Castle freaking out because Beckett is forced to spend so much time with a guy even Castle couldn't help but have a man-crush on

Emphasis there is on the word "forced," as "The Squab and the Quail" went to great lengths to ensure that Beckett is always in compromising situations with Vaughn. First, she was simply investigating the attempt on his life, but then she was working as his personal bodyguard, all at the behest of the off-camera police commissioner. This, of course, drove Castle insane. After all, not only was Vaughn going after his girl, but he was doing it through roughly the same means that Castle used to get himself onto the police force in the first place. He was being bested by someone richer, more influential, and more immediately charming than himself. That can't feel good.

It was a great set-up for Nathan Fillion, who is often at his comedic best when he's panicked or otherwise obsessed with something. Here, Fillion went positively bonkers to try to solve the murder before anything happened between Beckett and Vaughn, constantly freaking out to a mostly disinterested Esposito and Ryan, who just went about their usual business throughout the episode. 

But outside of some good Fillion one-liners and facial expressions, "The Squab and the Quail" mostly fell flat. Everyone in the episode spent so much time talking about what a big deal Eric Vaughn was that nobody seemed to notice that he wasn't that interesting. If anything, he just came off like the richest version of the average tech executive: smart, affable, and certainly good looking, but without much to say outside of what was going on in his work life, or what his latest altruistic endeavor was. Gruffudd doesn't imbue Vaughn with much of a personality to hold onto, either. Really, Vaughn's most significant moment was when he dismissed Beckett's explanation that she was in a relationship with Castle and sort of creepily moved in to kiss her anyway.

At least he gently backed away when Beckett put her hand up. And it's a good thing he did too, because he managed to avoid yet another brush with death, by way of a sniper rifle from the hotel across the way.

It ended up being something like the third time Vaughn avoided death in the episode, which looped everyone back around to the crazy notion that maybe Vaughn was the killer all along, and that the plot was all designed by him to distract from the person who was actually murdered. At that point, a bus boy had been blackmailed into poisoning the food from the first attempt, and that bus boy had been summarily shot by the hitman who'd blackmailed him in the first place, all while Vaughn was ducking multiple murder attempts. So sure, throwing Vaughn out as a potential villain wasn't that ridiculous compared with everything else going on.

Instead, the writers pulled back on turning Vaughn into a full-on villain, and scrunched in some backstory involving a Mexican clean energy company that didn't exist, financial fraud involving said company, and the man in a bow-tie who handled all of Vaughn's day-to-day operations. He apparently made some costly mistakes, and his problem-ridden assassination attempts were all part of his efforts to cover his tracks.

With Vaughn seemingly safely out of the picture, Castle made a point to try and make things right with Beckett, offering her a sensual massage as a make-up for the video game incident, though Beckett's odd reaction seemed to indicate that she was anything but appeased after her time with Vaughn. Vaughn's subtle insistence that Castle simply doesn't understand Beckett—at least not the way Vaughn presumed he did—was nagging at her as she asked, "Where are we going?" and Castle, oblivious, responded, "To the bedroom," leaving Beckett with an expression of barely masked anxiety.

Something like this was inevitable. Ever since Castle's ex came to town with her friendly warning that he wasn't the most forthcoming of people, Beckett's had this doubt dangling in the back of her mind. Vaughn's words simply solidified the fears that were implanted however many weeks ago by Meredith. There was no way that this relationship wasn't going to hit troubled waters eventually; I suppose I just wish the reason was something more interesting than "Castle isn't very open, and also he's kind of an inconsiderate doof on occasion."

Revolution "The Night the Lights Went Out in Georgia" Review: Miles Is Sorry for Everything He's Done to You

That Miles Matheson, am I right? He's always doing stuff to people. In last night's episode ofRevolution, we were reminded that he did something to Rachel. Something bad! And don't forget about what about what he did to Alec, his student from back in the day when Miles and 'Bas ruled the Monroe Republic. Miles shipped Alec off to Texas for some Texas-shaped justice. Texas! Poor guy. And what about what he did to Georgia Federation President Kelly? He did something personal to her that she'll always remember, according to President Kelly. We also know he did something to Nora in the past, did bad things to every single villain-of-the-week in the first half of Season 1, and stomped on that kid's sand castle in Myrtle Beach right before he spit on the tyke's sandwich (just guessing on that last one). Plus he still owes me fifty bucks.

Yet when Miles pouted on the curb and emo'd to Charlie, "People count on me, and they get hurt. You want to know why? Because I hurt them. And I don't even think twice about it. That's who I am, Charlie. Now get the hell away from me," it wasn't a moment of maturation through self-reflection. It was "HERE WE GO AGAIN," because we've seen him do this before. 

After a string of pretty solid episodes, "The Night the Lights Went Out in Georgia" was a boring affair. Despite the imminent threat of a nuclear attack, the episode was built on character instead of real plot (if anyone thought the bomb was actually going to go off, I have a bridge to sell you), and Revolution's character-built episodes will always be boring until its characters grow before us. Miles' wrongs never stood a chance at being 100-percent corrected, but he could've at least shown some sort of authentic remorse other than saying something like, "But that was the oldMiles!" Because this cycle for Miles is making me tired. The only time Miles actually admitted he was wrong was to Alec, and then he killed Alec a minute later. Yes, it's kind of sad to see Miles struggle with his past, until you realize that A) he's not doing much about it, and B) it's hard to really feel anything for the members of Monroe's Militia that he wronged in the first place. Isn't the point that we're not supposed to empathize with Stormtroopers? To truly feel the haunting of Miles' past, we need to see good people that he done wronged.

But enough about Miles and his warpath of destroyed personal relationships! I'd like to talk about Atlanta for the first time ever in my life. This episode gave us the only real good glimpse we've gotten at the rest of Revolution's universe, and sorry, I'm not sure what to think about this interpretation of the United States now. After spending time in the raggedy and smelly Monroe Republic, Atlanta was the Beverly Hills of the post-blackout world, its citizens packing the streets in elegant dresses and suits and not missing electricity at all. Did you see these fancypantses? It looked like Men's Wearhouse had a blowout Easter sale or something.

It was definitely culture shock, not just for Charlie, but for us. Steam engines! Street food! Post-apocalyptic Ross Dress for Lesses! While the Monroe Republic wore loin cloths and army surplus gear, Atlanta somehow kept clothes on the racks and hoarded guns. While the Monroe Republic dragged helicopters by hand and hired hermits to build nuclear bombs, the Georgia Federation grew crops and developed steam technology for public transportation AND pressing suits. And we've been asked to believe both situations are simultaneously possible without understanding any of the basics. Atlanta could build steam-engine buses but Monroe couldn't? Monroe uses diamonds as currency, but Atlanta has "money"? Are these clothes old, or are they being made now? Where are the bikes? Is Europe really a convenient trading partner? What's going on in Canada (and/or Mexico) if the States can reshape borders into giant territories but we're still respectful to our neighbors to the North? Who wears a damn suit in muggy-ass Atlanta when they don't have to? Somebody's clearly put some thought into what these worlds should look and operate like, but there hasn't been enough devoted to how they came to exist or why. Based on its premise, Revolution is obviously going to attract a particularly curious crowd that will dissect the details, and opening the world up, while pretty cool, only reminds me that there's still a lot out there that's cloudy. 

Speaking of cloudy details, the magical nanites are good for more than just keeping the lights off. They eat tumors! The all-knowing Dr. Warren put it best with Revolution's take on science: "It's not magic, but it might as well be." Because these nanites, my friends, may as well be magic. At this point, they can do anything as long as you close your eyes and pray hard enough. Have a cavity? The nanite fairies will fix it. Can't reach the remote control? Just ask the nanites to grab it for you! Need Cyrano de Bergerac-type advice while you're out on a date? NANITES NANITES NANITES! 

The new power of these cancer-killing nanites set up Rachel's story of the week, which saw her track down Dr. Warren, another one of these "rare" scientists who happens to know more about The Tower than anyone. Whenever Rachel hits a roadblock, all she has to do is visit an old coworker who conveniently happens to be within walking distance and not kidnapped by Monroe. Dr. Warren's lady partner Beth had Stage-4 cancer, or as the nanites call it, a tumor-licious buffet! The only thing keeping her alive were these microscopic electricity eaters, and if Rachel was to somehow turn them off, Beth would die. So Dr. Warren wantsed them to stay off, because all she could think about was herself and her girlfriend and not the rest of the world. We also learned that the only thing keeping Danny alive were the nanites (they also eat asthma!), but now that he's dead Rachel doesn't have to care about keeping them off. Basically, we saw a scene between two incredibly selfish women, one of whom (Rachel) is a total hypocrite for backing away from her belief because Danny is dead so who cares about what she said previously. 

It was only Beth who had enough sense to slap everyone in the face by promising Dr. Warren that she'd just kill herself by slitting her wrists (let's see your nanites fix that!) so everyone else can enjoy electricity, and you know, probably save a ton more lives in the process. It was an absurdly melodramatic scene, and it ended with Dr. Warren handing over her book of Tower knowledge to Rachel, thus bestowing all Tower information unto Rachel and rendering Dr. Warren to old news. Miles and Rachel deserve each other, since the thing they're best at is showing up at people's doors and ruining their lives.

The episode's most interesting development came at the end, when President Kelly handed Miles the keys to a mini-army (a couple hundred troops, a thousand guns) and told him to hit Monroe from the inside. I don't know how Miles casually strolls back into the Monroe Republic with hundreds of dudes each carrying five guns behind him, especially since he can't go 100 yards without being spotted as the most-recognized traitor in the territory, but I'm sure that will be solved with a simple cut to Miles and his men hiding out in Philadelphia if he does choose to take President Kelly up on her offer. It at least sets the stage for the rebels to get a powerful ally in the Georgia Federation, and practically promises all-out war between the two for a big season finale. This I can definitely get behind.

There wasn't much else to "The Night the Lights Went Out in Georgia," which took teeny-tiny baby steps after the man-sized strides of the last few episodes. Until the show writes characters that are interesting for more than psychopathic tendencies (looking at you, Rachel), all we'll really be tuning in for is plot development, and I don't think there's enough of that for a satisfying season unless your idea of plot is meeting the new character of the week who opens the door to the next character.