Paul Levinson's Blog: Levinson at Large, page 264

Narcos on Netflix: Outstanding

We streamed Narcos on Netflix the past few evenings.  Like House of Cards, Peaky Blinders, and Bloodline on Netflix, and The Man in the High Castle on Amazon, Narcos is a powerful, top-notch kind of streaming television, every bit as good as and sometimes even a little better than the best we've seen on cable television.   As I pointed out in McLuhan in an Age of Social Media, we're undergoing a new revolution in television indeed, not just in the process of streaming, but in the narratives that are being streamed.

Wagner Moura's portrayal of Colombian drug king Pablo Escobar - at his height, the seventh richest person in the world - is so strong and sensitive that you almost find yourself rooting for him - that is, until he brutally murders yet another rival or political figure who gets in his way, and anyone that he rightly or wrongly perceives as disloyal.   Escobar was also responsible for the kidnapping - and the death that ensued as a Colombian military unit attempted to free her - of journalist Diana Turbay, and he had no problem bringing down and to their death a whole plane of people in an unsuccessful attempt to do away with a Colombian Presidential candidate who opposed him.

But, as if often the case with these sociopaths, for whom the life of just about anyone other than his immediate family is a commodity to be bartered and expended with if necessary in pursuit of his business, Escobar at least in this narrative on Netflix commands at very least our keen interest, and for that reason alone a part of us in not unhappy when he escapes against all odds over and over again.

Even as those who pursue him in the narrative become less human as their frustrations mount.   By the end of the first season, DEA agent Steve Murphy and Colombian President Gaviria, each compassionate in their own ways for most of this story, have become ruthless to the point of almost nothing else mattering except the killing of Escobar.

Superbly acted, beautifully photographed in verdant Colombia, the best news about Narcos is that it will be back for a second season - maybe a little later than expected, as recently reported - but it will be much welcome viewing whenever it's back.

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John Lennon 75th Birthday Concert on AMC: My New Year's Resolution and the Gun Scourge

We saw John Lennon's 75th Birthday Concert on AMC last night.  It took place in The Theater at Madison Square Garden in New York City on December 5, and first aired on AMC on December 19.   In an alternate history with a better world, John Lennon would have performed at this concert himself.  But that was not to be.  He died of the epidemic of guns that has been ravaging America my whole life.   But that's another story, and at least we have his music.

It's easy to forget, given the Beatles' beginning with "Love Me Do," that Lennon was one of the towering, transcending lyricists of our time, indeed of all time and history.   This began to emerge as far back as "Nowhere Man," but became ringingly clear with "But when you start carrying pictures of Chairman Mao, you ain't gonna make it with any one anyhow" in "Revolution," a couplet right up there with the best of what Dylan wrote.

Steven Tyler and Eric Church brought the crowd to their feet with their rendition of "Revolution," but that was true of just about every performance, and the incandescent words they conveyed.   I'd forgotten how brilliant the lyric of "Mind Games" is - with its talk of "mind guerrilla" and "druid dudes" - until Eric Church sang it and lifted the veil.  But that was also the case with Aloe Blacc's "Watching the Wheels" - first time I've heard him, he has a fantastic voice, by the way - and even Sheryl Crow's "Hard Day's Night" had a real plain-spoken elegance, harkening in a way to Woody Guthrie.

But the preponderance of the songs at the birthday concert were Lennon-alone compositions and performances, brought out after the Beatles' breakup.   And it may well be that Lennon did his very best work, most enduring and significant, after  the Beatles.  Well, certainly most socially significant, including "Imagine," "Give Peace a Chance," and "Power to the People," all well performed at the concert, especially "Power," with a stonking guitar solo by Tom Morello (exceeded only by Prince's performance on "My Guitar Gently Weeps" at the George Harrison Memorial Concert as the best I've ever heard from any guitarist.)  But even on the personal level, consider the difference between "Julia" (a Beatles song, not performed at the concert), and "Mother," released by Lennon right after the Beatles split, and rendered with heart-rending power by The Roots at the concert.   Or "Jealous Guy," one of my all-time favorite songs performed by anyone, and done well by Pat Monahan last month.

But if this is so - if Lennon did his best work in the 1970s - then that returns us to what we lost when Lennon was murdered in 1980.  I thought at the time, and feel even more strongly since, that Lennon's assassination was on a par of horror with JFK's, MLK's, and Bobby's in terms of what it took, irreplaceable, from our lives and ongoing world.

I've dealt with this just a bit as a science fiction writer, in my "Loose Ends" short story saga, which before it concludes delves into an attempt to save John Lennon at the Dakota.  But what his death took from us needs much more than wishful thinking and science fiction.   Gun violence is never "another story," cannot be, because it is foist and forced upon us all the time.  My New Year's Resolution for 2016 is thus to do everything I can to reduce the scourge of guns in America - including those wielded by police against African-Americans - before it takes from us another John Lennon, or anyone else.



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My List of the Top 10 Television Series of 2015

This is the first time I've made a list, which includes television on network, cable, and streaming.   Runners-up - superb but not quite making this list - include Chicago Fire (NBC) and Vikings (History Channel). Also worthy of Honorable Mention this year are Empire (Fox) and American Crime (ABC). But here's my Top 10 for 2015:

10. Deutschland 83 (Sundance): An unwilling East German spy undercover as a West German soldier at the height of the Cold War, i.e., 1983, and much easier to buy than The Americans. Outstanding.

9. Humans (AMC): The best android story ever on television, and likely in the movies.  Isaac Asimov would've loved this.

8. Rectify (Sundance): He has the heart of a poet and the native literacy of a Dylan.  Is there any chance he's guilty of the murder for which he's been released from death row on a technicality?

7. Mr. Robot (USA Network): A hacker show in a class by itself, that'll keep you on the edge of your seat in extreme suspense when you're not chuckling at the dark humor.

6. House of Cards (Netflix):  Not its best season, but still a masterpiece of political intrigue including murder.

5. Nashville (ABC): What can I say?  I just love the music.

4. The Good Wife (CBS): Easily the best show on network television, with its best season so far.

3. Fargo (FX):  Very loosely derived from the movie, but staking out a wacked-out intensely compelling territory all of its own.   This past season, for example, which had little in common with the first, had Ronald Reagan and a UFO as crucial parts of the story (well, the UFO anyway).

2. The Affair (Showtime):  The writerly life as realistically as its ever been portrayed on television - plus a top-notch whodunnit, and then there's that hot affair.

1. The Man in the High Castle (Amazon):  Philip K. Dick's masterful alternate history of the Nazis and Japan winning World War II brought to the screen so effectively that, when you look away, you can almost believe that the reality we're now living in is the dream.

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Quibbles with The Hateful Eight (with Spoilers)

I raved on about The Hateful Eight the other day - the eighth movie of Quentin Tarantino, and I'd say second only in excellence to his first movie, Reservoir Dogs, which in my book is high praise indeed. But I did say in that review that I saw a plot hole or two, and there were a couple of scenes I wasn't thrilled about, so I thought I'd list them here, with a spoiler warning ...

SPOILERS follow ...

I probably missed these two points, because I was so engrossed in the plot, if that makes any sense, but -

1.  How did Walter Goggins' character (Chris Mannix) know so quickly and certainly that Samuel L. Jackson's (Major Warren) letter from Abraham Lincoln was a phony?   This just seemed a little odd, especially after Kurt Russell's hardbitten John Ruth seemed so sure it was real.   Was it just so obvious that the letter couldn't be real - but if so, what was Ruth's problem in not seeing that?

2.  Similarly, how did Warren know at the end that Michael Madsen's Joe Gage was the poisoner, and not Tim Roth's Oswaldo Mobray?  I have a feeling I missed something there, but on the other hand, I can't recall when Gage rather Mobray was revealed by his own hand.

And here are two scenes I could have lived without into this otherwise superbly rendered movie -

1. Actually, a few scenes without blood or bruises on Daisy's (Jennifer Jason Leigh's) face would have been nice.   The blood and bruises became a little tedious.

2.  And I would have been fine with the schlang-sucking scene (that's right Trump, don't pretend you don't know what that means) being a little less explicit.   And, actually, I thought the whole General Smithers' (Bruce Dern) thread was superfluous to the overall narrative, much as I thought Dern put in a commanding performance as always (as did everyone else in the movie).

But these are small quibbles indeed, considering how good the rest of the movie is.   Here, again, is my full review, for more of that.




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The Hateful Eight: Reservoir Dogs meet Agatha Christie Out West

I saw The Hateful Eight in New York at my son's invitation tonight, completely different from The Magnificent Seven, as the name suggests, and like all Quentin Tarantino movies, not without flaws, but deeply memorable - and highly enjoyable.

Indeed, The Hateful Eight comes closest to recapturing some of the pattern of Reservoir Dogs, which I still consider Tarantino's masterpiece and best movie.   An ensemble of characters with quirks and patter written by a Shakespeare of the clever line, which is what Tarantino is.   And the plot is pretty good, too.   Since I'll keep this review spoiler free, I won't say much about the whodunit, except that the solution is analogous to the misdirection and ensemble cast we find in some of Agatha Christie's best works.

We saw the movie in 70 MM - a "special roadshow engagement," as the glossy program which was handed out tells us.   This a bygone kind of movie making with long screens - employed in Ben Hur, for example - and especially suitable for a stage coach trying to outrun an impending blizzard in the beautifully desolate Wyoming landscape a few years after the Civil War.  Except - well, there was maybe about 10 minutes of the stage coach, total, in the three-hour movie (with an intermission), the rest of which most takes place in a single room.   Indeed, The Hateful Eight could easily have been a play on a stage, and maybe someday it will.   It would certainly work on television, even the square screen kind, and at one point in the movie Tarantino even seems to make this very point, by giving us a scene seen through an open barn door, a square image on the wide screen.

Ennio Morricone wrote the score - he's 87 now, and has all the talent he had when he wrote the score for The Good, the Bad, and the Ugly released in 1966, except there wasn't much good, but plenty of bad ass and ugly in The Hateful Eight.   Tarantino, in an especially nice touch, begins the movie with a three-minute overture from Morricone.

The actors and characters are all vintage Tarantino, which is to say excellent and welcome.   Some of the acting talent - such as Tim Roth and Michael Madsen - reaches back to Reservoir Dogs.   Samuel Jackson who was so iconic in Pulp Fiction plays a major role.  And Walton Goggins, unforgettable in his television roles and a Django alumnus, is on hand with his patented performance, too.

There are inevitable plot holes, characters realizing things a little too quickly, but that's a small quibble about a fine movie - the "8th Film by Quentin Tarantino," as he bills The Hateful Eight - but not hateful at all, except for maybe one or two scenes, and among the best we've seen from Tarantino in the past few decades.




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The Bookstore with Just One Book

The Guardian carried an article the other day by Alison Flood about a bookstore in Japan that stocks and displays only one book at a time - and I couldn't help thinking about McLuhan's observation that new technologies turn outmoded technologies into art forms.

This has always been one of my favorite of Marshall McLuhan's discoveries.  In his day, the impact of motion pictures on the theater, once a mass medium, now the "legitimate," i.e., culturally elite stage, was a prime example.  As was penmanship, once a necessity, converted by the typewriter into an admirable talent.   And, of course, poetry, in Homer's time a pneumonic necessity, had since the invention of easy writing with the alphabet long since become a high-art form.

Examples abounded.  In my Digital McLuhan, I offered some of my own.  Delicatessen, once treated with spices and preservatives natural and artificial to preserve the meat, became in the age of refrigeration something to be sought after for its taste.   And speaking of cool, the convertible car, once driven so the driver and people in the car could be physically cool, was transformed by air conditioning into something driven to look, i.e., be culturally, cool.

Which brings us to the bookstore in Japan, which just opened this past May.   Japan has long been known as a place in which single paintings are hung a wall, so they can be admired without competition, and eventually replaced by another painting.  Under the pressure of the Kindle, which makes a myriad of books all but instantly available, the printed book has now become something more than it once was - an object to be displayed, like a work of art, before it is read.  The Kindle, in other words, has turned the printed book into an art form - at least, in Japan.

For further application of McLuhan's thinking to our current age, see

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The Knick Season 2 Finale: How Final?

The Knick shuttered its doors on its second season last Friday, and closed a lot more than the at-turns cutting edge, guerrilla medical establishment that we've come to know, love, and sometimes be repulsed by.

First and foremost is the permanent shuttering - for the season being over is not the same as the series ending - of Clive Owen's magnetic Dr. Thackery.  Why the other doctors in the room didn't move a little more quickly to disobey his repeated orders and intervene to save him is not clear, and not satisfyingly explained by their fear of going against his commands.   On the other hand, there was likely little if anything they could have done after he nicked so crucial an artery.  And so the anti-hero hero of The Knick dies of a nick self-inflicted.

The other big event was the marriage of Cleary and (former) Sister Harriet, which happened off-camera - actually, she put on his ring, which I suppose makes them married - but was the nonetheless a triumphant event.  Or, would have been, had not we learned a little earlier that Cleary, in his love for Harriet, had told the police about the abortions she had been performing, in the hope that exactly what happened did indeed happen - she would be thrown out of the sisterhood and into his arms.  On the other hand, it was an act of desperation born in true love, so perhaps there's a little nobility in it after all.

There's no nobility in eugenics, and the talk of taking the ocean liner to Germany to further that work was chilling indeed.   So was the the way people get away with murder in this narrative, not only in the finale but throughout this season.

But there's hope for Algernon, whose wounded eye will not let him resume his profession as a surgeon but leaves open a career in the new psychotherapy, which promises all kinds of possibilities for the next season.

Assuming there is a third season, which hasn't been formally announced as yet.   I'd certainly like to see one - and hey, given that no one cut Thackery's head off, it's even possible that we may see him alive again.

See also The Knick 2.1: Playing Off Our Present ... The Knick 2.4: Spirochete

And see also The Knick: Paean to Scientific Method ... The Knick Sneak Preview Review 1.8: Good Loving, the Fix, and Typhoid Mary ... The Knick Sneak Preview Review 1.9: Sacrifice ... The Knick 1.10 Sneak Preview Review: Fallibility

 
deeper history

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I'll Be at Fourth Annual Philip K. Dick Film Festival in New York City

When you think of powerhouse, intellectually brilliant science fiction on the screen that came from the printed page, Philip K. Dick is in a class of his own. Bladerunner, Total Recall, Minority Report, the list just keeps growing, and reaching television and streaming as well as movie screens, with The Man in the High Castle which I reviewed last month, and found to be one of the most provocative series ever on television.
I'm thus delighted to be attending the Fourth Annual Philip K. Dick Film Festival here in New York City, January 14-17, at the Village East Cinema. I'll be on a panel at 2pm on January 16, discussing that alternate history masterpiece, The Man in the High Castle, and how the screen version compares with Dick's 1962 novel.

I'm also one of the judges for the short-film competition, and, let me tell you, some of those movies are peerless, and all are excellent.  There will of course also be full-length movies, and, apropos Blade Runner, Rutger Hauer's Clones will be showing on Friday night.

I was just quoted in the Christian Science Monitor early this month in an article by Molly Driscoll about how, as convenient and satisfying it is to stream narratives on screens at home, there's something special and appealing in the sense of community you get when you see a movie in a theater.   I just had that in the theater watching Star Wars.   Hope you can come to Village East Cinema in New York in January and get that for Philip K. Dick.

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Fargo Season 2 last few episodes: UFOs, Protocols, and yeah, Heartwarming

Fargo concluded its second season earlier this month with a few episodes that were, literally, just out of this world.  Well, one was, anyway.

In the next-to-last episode, which featured one of the best shoot-outs ever on television, with lots of evil characters getting their just deserts, and some not-evil characters, too (like that brave lady cop), which I guess makes their deserts unjust, we have a resolution of that shoot-out, a saving of the day for Lou - which had to be saved, since we know older Lou from Season 1 - by a UFO.

So does this mean UFOs exist in the Fargo universe?  Is Fargo, in addition to all of its other merits, science fiction?

Not necessarily.  No one interacted with any alien.  And reports of UFOs are common enough in our reality and world.  So whatever was seen at that shoot-out was just light in the sky, which was caused by some contraption, which may or may not have been an alien ship.

Even if it was, would that be so bad?  Well, certainly not for me, seeing as how I'm a big fan of science fiction, having just reviewed Childhood's End (and I reviewed most of Falling Skies), speaking of UFOs.  I've even talked about them on the History Channel.



But there is what literary critics call a protocol issue, if UFOs with aliens are suddenly introduced into a series like Fargo.  If you have a dead body, murdered, in a room with a door locked from the inside, this makes a classic whodunit.   If you solve it by discovering the murderer beamed into and out of the room, that kind of solution can anger mystery fans by violating the expectations of the whodunit genre.

On the other hand, there has always been an aspect of Fargo that almost seems out of this world, anyway.   Hanzee, the "Gerhardt Indian" and one of the best characters in season 2 (well played by Zahn McClarnon, who also stood out in Longmire), has even been suggested to be an alien.  And, let's face it, that cold snowy terrain sometimes looks like a scene from another world, even when there isn't a gunfight at the OK Corral to liven up the night.

As is the case with many top-notch television series these days, the next-to-last episode was better than the finale, which tied things up, but with far less energy than the previous episode.  Still, it was great to see that Lou's wife Betsy survived, and her collapsing was because of the treatment the she had indeed been receiving, thus giving this finale a nice, unexpected silver lining which also is an intrinsic part of this series, and therefore not completely unexpected, I guess, but heartwarming and welcome.

Looking forward to next season on Fargo.

See also: Fargo 2.1: Good to be Back in the Freezer ... Fargo 2.6: Just Superb

And see also: Fargo Debuts with Two Psychos ... Fargo 1.7: The Bungling and the Brave ... Fargo 1.8: The Year ... Fargo Season 1 Finale: The Supremely Cunning Anti-Hero



A story about another kind of killer ...  The Silk Code

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Bones 11.10: Shake-Up

Well, I finally caught up with Bones this season, and the final episode of the Fall, 11.10, was a strong one indeed.

Aubrey and Hodgins are both injured in a bomb blast.  It looks as if Aubrey is more seriously hurt, at first, as Hodgins walks out of the hospital saying he's ok just all sore.  Aubrey recovers, but Hodgins collapses - shortly after he tells Angela that he now wants to have more children, something he realized after his brush with death.  And Hodgins collapses just as Cam, in another room, is likely about to tell Arastoo that they're finished.

This is a pretty good shake-up and set-up for the Spring.  Hodgins' collapse is presumably not life-threatening, but the doctor tells our assembled group that he's paralyzed.   Significantly, no asks if the paralysis is reversible, and this opens up a variety of possibilities.  Hodgins continues in a wheelchair but pursues some kind of cure is the most likely.

Bones needed to shake things up.   The replacement of Sweets with Aubrey has helped the series, as much as I liked Sweets, because Aubrey has brought new cards to the table.  I would have hated to see any other of out major characters killed, but Hodgins in this new condition will change the nature of the Jeffersonian, giving it an Ironsides quality.

This season, so far, has been good.  Booth and Bones as cowboy and cowgirl in episode 11.09 was a delight, and the NSA story in 11.08 was excellent, giving Booth, Bones, and Aubrey a chance to expound on their views of Edward Snowden (whom I happened to see on Skype at Bard College in October).

The series still has a lot of juice, and I'm looking forward to more.

See also Bones Back for Season 11: Aubrey and 'Audrey' ... Bones 11.2: Back in Place ... Bones 11.5 Meets Sleepy Hollow 3.5: Time Travel

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 ... Bones 10.8: Daisy's Doula ... Bones 10.9: The Milgram Experiment and the Birds ... Bones 200: 10.10: Just like Bogey and Bacall ... Bones 10.11: Life after Death, and Sweets in Wonderland ...Bones 10.12: The Digital Revolution ... Bones 10.13: The Almost-Serial Killer ...Bones 10.14: meets La Parure ... Bones 10.15: Cards in Hand ...Bones 10.16: Hodgins' Money ... Bones 10.17-18: Bullies and Capital Punishment ... Bones 10.19: Do You Buy Booth's Gambling Addiction? ...Bones 10.20: Intimations of a New Jeffersonian ... Bones 10.21: Ten Years Isn't Enough ... Bones Season 10 Finale: Rehearsals for Retirement?
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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