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"I look like Frankenstein"

The beauty of Damages is that itls like a car crash. You can see it all unfolding in slow motion, but you're powerless to stop it. The unstoppable force of the present and the immovable object of the future, destined to meet, somewhere in the middle of a really fashionable Manhattan. So what is the first thing we see in this episode? A car crash. For the first time we see Patty's car collision from the other driver's point of view, with a dashboard Lady Liberty riding shotgun, as this show's favorite agent of doom (the evil bookends from season 1).


In the 'future', the eerily Zen Detective Huntley probes Ellen about her involvement with Tom. We find out Tom and Ellen weren't knockin' boots, they were secretly starting up a new firm, perhaps the instigation for whatever nasty thing Patty hired someone to do to Tom. Back in the 'present' we see the beginnings of their partnership as they team up to track down a wayward Carol Tobin, the last person to see Danielle Marchetti. Ellen, in a classic Hewes & Assc. move, withholds this info from the D.A. to give Tom a chance to gain some ground on the missing money. The two share their woes over a cup of joe, Tom hiding his financial crisis from Patty, and Ellen commiserates with the need to show no weakness around il ducessa. A popular tactic as Patty's son Michael, pretends to be a broker to make his mom happy. While Ellen like Patty, cuts herself off from weakness, preferring to turn away from her sister's burgeoning drug problem.


Ted Danson, reminds us that self-deluding billionaire murderers don't have to be grumpy like those stuffy Tobins, as he embarks on a quest to hire a spokesperson for his vanity-enviro-enlightenment project to rehab his reputation along with the planet. As a bonus he gets to have his life turned into a movie...Wall Street: The Musical?


On the empty nest front, Ellen reveals to an unsuspecting Patty that she's going to be a grandmother, and that's as close to a spit-take as Glenn Close is gonna get. Patty decides to go on the offensive, trying to outbid the mother-to-be's affections for Michael. But it's a no-go. And instead Patty is left looking like a stalker watching her son's aptly named gallery showing 'Emancipation' through the window of her town-car.


We catch up with Carol hiding out with her brother slippery-slope-Joe Tobin, who gave her the poison to kill Miss Marchetti (maybe hitting her with his car was like a Freudian slip).


As a final teaser we see Martin Short bringing Tom a payoff in the mysterious apartment. Could this be some of the missing money? A payoff to tank the case? Startup money for Wall Street: The Musical? No wonder Patty tries to have him killed.



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