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10.05 "Trophy Wine"


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#1 Firefall

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Posted 02 March 2011 - 01:30 PM

I checked back to the reel blog site to see any updates, and bingo number three's details has been posted.

10.03 "Trophy Wife"

The only details it said about the episode is that: a woman manipulates a tabloid-friendly, "bad boy".
I'm wondering if this woman is the victim or main suspect.

Edited by ciaddict, 06 June 2011 - 06:06 AM.


#2 carin

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Posted 02 March 2011 - 07:12 PM

Tabloid friendly "bad boy." Umm...ripped from the headlines...the Charlie Sheen story? ;)

#3 Firefall

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Posted 03 March 2011 - 11:59 AM

Tabloid friendly "bad boy." Umm...ripped from the headlines...the Charlie Sheen story? ;)



Its funny how their storylines are actually ripping out of recent headlines; the second episode will be dealing with cyber security echoing the WikiLeaks scandal; and then there is this one probably referencing Charlie Sheen. Very funny; I think its pure happenstance that this happens.

#4 Flatpack

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Posted 05 March 2011 - 06:58 AM

What about "Boots on the Ground"...I saw that as an episode somewhere but cant remember where. Anyone else find it?
well,its episode 2 according to some sources...see wolffilmstwitter etc

I hope "Trophy Wife" has a twist on its own title.

Edited by Flatpack, 05 March 2011 - 08:31 AM.


#5 skittles4me

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Posted 05 March 2011 - 11:19 AM

Casting Call from thereelblog

http://www.thereelbl...rophy-wife.html


SEASON 10, EPISODE 3 ~ "TROPHY WIFE"

[AVERY METCALFE] Female, 35–40. A tough cookie. The beautiful, smart, stylish younger wife to a wealthy, unattractive older man. They both have affairs on the side with gorgeous, not-too-bright twenty-somethings. When her husband dies of an apparent heart attack, she eventually confesses to killing him via poisoning – but her confession is full of holes, and leads the detectives to suspect she is actually attempting to cover for her young lover. The investigation uncovers that she really is the murderer after all – her husband was going to divorce her days before the 10-year cut-off in her pre-nup, leaving her with nothing.

[EV DILLAHUNT] Male, 55–60, upper class. The snooty head of a prestigious auction house. He finds his company caught up in a massive fraud perpetrated by a con man.

[MASON KENT] Male, 35–40. A tough rich guy. He is a billionaire collector, obsessed with amassing troves of valuable wine.

[SHANE] Male, 26, model handsome, scruffy. A bad boy Ashton Kutcher. His affair with a wealthy older trophy wife leads to him being suspected of murder when her husband dies from being poisoned.

[HUTTON MAYS AKA THE NOSE] Male, 40's, effete. One of the world's foremost wine critics.

[AIMEE] Female, early 20's, blond, extremely fresh-faced and innocent. While pursuing an acting career, she makes ends meets by working as an escort for the "Farmer's Daughters" dating service, providing the "full girlfriend experience" for a wealthy, obese 55 year old man who has convinced her he is going to leave his wife for her.

[LOY] Male, 30s–40s, foreign: Asian, Latino, or East Indian, with slight accent. The devoted houseman and butler to a wealthy wine connoisseur on the Upper East Side.

[BING CULLMAN] Male, 50's, overweight or obese, unattractive – but always able to attract beautiful women thanks to his vast fortune. Living on the Upper East Side, almost no one suspects that he is actually the "Bernie Madoff of wine" – running a massive fraud in which he sells counterfeit wines for exorbitant sums. Days before the 10 year cut-off in his pre-nup, he cruelly informs his beautiful younger wife that he is divorcing her – and the small settlement she will be left with is about what he would have paid a prostitute over ten years.

[ANGELICA] Female, 40. A clean-cut mom – you would never guess that she was a drug-addicted prostitute in her younger days. Acquainted with Det. Eames when she previously worked vice, Angelica credits Eames with helping her get on the straight and narrow. She now runs a (mostly) legit dating service which provides "the full girlfriend experience."

[VALERIE BALON] Female, 27, gorgeous, French, with accent. An accomplished sommelier. Extremely smart young New York professional.

[AGENT MORTON] Male, 30s–40s, any ethnicity. FBI fraud investigator.

[ERNST FASSBINDER] Male, 40s–50s, Austrian. A character type. An eccentric expert on wine.

[JANICE] Female, 55. The first wife of a recently deceased wealthy man, she was tossed over for a younger model.
Posted Image

#6 Flatpack

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Posted 05 March 2011 - 02:49 PM

Ha! What fun. A man called "Fassbinder".
Fassbinder and a film called "LOLA" !
Enfant terrible..
Co-incidence, of course...

Now can we have a character called Herzog with a "Cave of forgotten dreams" perhaps,opening in cinemas in March?!

Edited by Flatpack, 05 March 2011 - 02:59 PM.


#7 Flatpack

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Posted 05 June 2011 - 02:31 AM

Now called "Trophy Wine".
They must have changed the emphasis!

#8 intenttobobbyandalex

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Posted 05 June 2011 - 08:50 PM

Please! Season 11!!! PLEASE!!!!

- My reaction to the latest therapy scene...

Shipper or not, ELEPHANT IN THE ROOM!!!!!

Finally!

#9 intenttobobbyandalex

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Posted 05 June 2011 - 09:05 PM

Man, USA, if there is ANY chance of bringing this show back...

I love these two characters so much.

I can't believe there are only 3 eps left. But this goodbye is so much to the (n)th power better than what we had last year.

So thank you USA for bringing Bobby and Alex back for the chance to celebrate and enjoy this amazing show once again.

side note -

I really liked LOLA and I was very surprised to hear that it wasn't doing well. Law and Order, I know all good things have to end... how about a cartoon? something? lol :-)

#10 jr6020

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Posted 05 June 2011 - 09:19 PM

Why the hell does USA have to rub our noses with that annoying "the last 3 shows of the series" taunt. I hope Wolf finds another network for the show. I've had it with USA...the best drama on their network and they stiff the cast, crew and fan base with that foolishness. By the way, great show tonight. The shrink scene with Bobby was some of the best drama ever...Jim

Edited by jr6020, 05 June 2011 - 09:45 PM.


#11 intenttobobbyandalex

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Posted 05 June 2011 - 10:25 PM

Jim -

i have thought a lot over the years about why, to me, the show over the years seemed to move further and further away from the best part of the show, bobby and alex. first it was bringing in Noth (who I loved as Logan in the early years of the mothership) and then eventually phasing out Goren and Eames and replacing them.

Over the years I honestly was like, What the heck are you guys doing?

That's like having Greg Maddux as your starting pitcher and then having him pitch only 2 or 3 innings, and then saying, you know what, never mind. We'll go with someone else.

My theory as to why there seems to have been this disparity between what I see as the superior quality of this show and the apparent waning interest over the years is that it's just too good for the type of show that it is.

VDO is a real actor. He "takes it up a notch".

To me, what I have seen in Bobby's character is more "real" and "interesting" than typical ty "drama"

So, what I'm saying is that LOCI does it all. It gives people the procedural and the drama, but they don't get the drama they want. LOCI is too intense for most people. VDO makes it real.

Now, I'm looking at him as an actor, not just his character. To me, he is trying to make your TV explode when he is acting.

#12 Flatpack

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Posted 06 June 2011 - 01:50 AM

Dont worry. there is often no correlation between ratings numbers and show quality.
The big audiences watch sport and reality shows etc.
Quality drama is lucky to get a look in, and thankfully, LOCI did that.
Shows like The Wire or In Treatment etc got low ratings but won awards,Emmys etc.
The problem with LOCI is the award givers see it as basic procedural when in fact its so much more, and the acting of VDO, that intense style, is part of what makes it so different.
Some great actors never win oscars for their roles...I dont think Richard Burton did...

The other special thing about LOCI is the humour, the irony. Its easy to miss that but its hilarious even when its painful.
This season is proving to be one of the best.It would be nice to get an award for it,but even if it doesnt its still high quality TV.The enjoyment of the actors and the crew just shines through every episode.And since Leight has written this for Brancato it might be reciprocated by Brancato writing for Leight on SVU?

Edited by Flatpack, 06 June 2011 - 03:56 AM.


#13 intenttobobbyandalex

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Posted 06 June 2011 - 05:37 AM

Flatpack -

That is exactly what I am talking about. And the fact that what VDO and KE do takes place in a procedural, the fact that imo they take it beyond the level of even the best dramas (although I have never seen the wire, but i live in baltimore so i hear about it everyday - thankfully never been any closer than the papers)... as i was saying, to me, VDO takes this role so far and with such great detail and passion, that i could understand that some people might actually be uncomfortable watching Bobby.

For me, some of the joy is watching Vincent play the role. I used to act and I have always been interested in it (partially because i drilled into my being for four years and its just part of me now). I watch the actors act and analyze and try to see maybe how they do what they do and why the do what they do to play their role. I personally see Vincent developing the character, the scenes, as he is going along. I mean, he's not just playing the scenes. He is thinking about what he is doing as an actor while filming, and he is spontaneous and making new choices and new discoveries about the character and the scenes while simultaneously playing the scene.

I mean, I don't know his work besides Bobby. But I feel like I'm watching live theatre within a procedural. Simply amazing.

I gave up on him winning awards for the reason you stated. I just love him so much. Eventually I will look at his other work. He's not as visible as say a Daniel Day Lewis, and I'm not comparing their talents. But I don't know if VDO's work is as easily accessible. The obvious one is Full Metal Jacket, I believe, which I will see.

I just love him and Kathryn Erbe so much together. I feel like even though this show has been so great there is so much more they could do. That is to say, I think they could actually make even better seasons.

That's why I feel like they were somewhat wasted by tptb. Watching the older seasons recently, especially 1-4, I remembered how absolutely amazing, beautiful this show was. That was a memory that was somewhat tainted by the sour demise of Bobby and Alex in Season 9. I mean, why didn't Dick Wolf just take them out back and shoot them? ;-)

I think, can you imagine if they had just stuck with VDO and KE for 10 seasons? I know VDO got exhausted, and I heard that the schedule was taking a toll on KE too.

But great things aren't often discovered while they are made. I'm not saying that LOCI is going to be discovered later and treasured like Kafka or something (i'm pretty sure he ordered his unpublished work to be destroyed when he died, but they weren't, so we have his books), but dammit, this show was so good for what it was. I mean, it is a procedural, but it has Orson Wells as its lead actor ;-)

I feel like I should say something more about KE. The thing is, imo her role is written as a supporting character, to Bobby. So I don't think I can judge her talents beyond what her character allows. I mean, i love her as Alex and her and Bobby might be my favorite "pair" of ty characters ever.

But I don't think we've seen what KE can do as an actress in this show because the role doesn't allow her to go beyond that which is in support of Bobby. I mean she has her moments, and I think she has to or she would always be in the background.

But I see that the two roles are written like the stature of the two actors: Bobby is huge, passionate, larger than life, challenging everything, and physically towers over Alex. She is small but strong, smart, and will take charge if she needs to. She is stronger than Bobby emotionally, I think. He has had to lean on her so much. But she knows loss, from her husbands death, so maybe she has had experience that helped her help Bobby deal with his numerous losses.

I mean, I guess they are still equals, but in different ways. Alex is not dependent on Bobby. In fact, he is probably more dependent on her. She is sort of a safe place for him? Sort of a mother, sister, friend and partner?

I don't know. I'm sensing that I'm missing a lot on Alex, but that's all I got right now!

#14 intenttobobbyandalex

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Posted 06 June 2011 - 05:42 AM

And maybe I have a blind spot to KE because I have a crush on Alex ;-)

#15 Flatpack

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Posted 06 June 2011 - 10:12 AM

If you like Alex, did you Chatter with Katherine Erbe while it was on? She was on USA answering questions.I was asleep but caught up later. Her children like Doctor Who and Glee,like mine.She says this is her favourite season and Blind Spot is her favourite episode.Well Blind Spot has one of my favourite arias and I think this is going to be my favourite season too.

The energy of this season is tremendous. I know its only 8 episodes and both Leight and Balcer had to do 21plus episodes when they were showrunning,but its still an achievement.Actually 21 must be a killer. I dont know how they do that...and heres leight writing this, writing psyche scenes and running SVU.He must be on supercharge!

Intentetc,its interesting what you say about "live theatre within a procedural" because they have often mixed this up since all the playwrights joined in season 2.And you are right that there is a different style of acting sometimes,more theatrical.That was strong on Privilege,season 6 and in Slither with Michael york, season 5 and many others. In this episode you see this "different" style of acting with the butler. He is amazing,mesmerizing.

Oh my god, what about the irony in this one! And there were some stunning restrained moments from VDO.He can do Rage but he can also do Quiet.

Edited by Flatpack, 06 June 2011 - 10:19 AM.


#16 Flatpack

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Posted 06 June 2011 - 10:50 AM

Im having fits here!
This is an example of the irony....the painted Still Lifes in the cellar rooms beside the actual still life!!!!Theres more life in those paintings than in Bings body!They are positively glowing....Ha!

And heres another one..."The butler did it.......in the morning" Smirk!Not the murder then!

And "did you two meet in acting class?"...spoken to Shane and his juliet,who probably are two actors who might have met in acting class!

And this one, which Ive probably taken the wrong way, but who cares....Mason says to Goren"I have to limit the vibration of movement down there...Im sure youll understand..". Cut straight to the psyche scene about relationships! Thrice giggle!

And the comic double act of the dilletante Dilahunt (!) and poseur Hutton the Nose (!)/Prick.
Oh my god...stop! I cant take anymore!

Oh wait...there is more...the play on wellfort security...the armoured car..the armoured knights..the armoured detective. i love it!

Wellfort Security!
well fought Goren!
Well thought leight!

OK,Ill come back when Ive recovered composure and stopped cackling...
I havent had a bellyache laugh for ages,thankyou!

Edited by Flatpack, 06 June 2011 - 11:12 AM.


#17 chimera

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Posted 06 June 2011 - 02:31 PM

I found the buttler totally convincing and fixating. I wouldn't be surprised to see him
appear with VDO in a future project.


#18 Flatpack

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Posted 07 June 2011 - 02:21 AM

yes,he was brilliant,wasnt he! the voice!

Anyway another day and in sobriety,
The investigation into the various Partnerships that surround this murder and Gysons investigation into Goren’s own experience of Partnership in therapy both point to the same end ,which is Goren’s extreme aloneness. When the crime is solved and the therapy scene complete, we see Goren alone and silent and contemplative. And in LOCI extremes divide and unbalance, which is why Goren is in therapy, to find a balance that brings him peace, the kind of balance he brings to others in his work but has not found in himself.

To solve the crime the detectives unravel a web of diverse relationships or partnerships, professional and personal. Dillahunt the dilettante and Hutton the Nose/Prick are a comic double act of “poseur and drag queen” who complement each other(see "Cruise to nowhere" double act). Shane and his Juliet connect in a relationship that “plays” on their older “patrons”. The wine business is a web of pseudo Partnerships feeding off each other that Eames calls “alcoholic snobs”. It’s a seething mass of wriggly lies and deceit in a decadent entropic ruling elite. Friendship, business connections, longterm marriage, sex – these are the human connections that bind and unbind us, and one leads to murder.

Chains that connect can also imprison and the marriage relationship between Bing and Avery that appears open is now abusive. Bing is a “sadistic monster” who “acts to make Avery’s life irrelevant”. In LOCI, denying our humanity is a cardinal sin. It’s a terrible thing to negate someone as worthless because our validation in who we are is in how we relate. When Bing negates his wife he effectively “murders” her and is as guilty as Avery who commits the act. Ironically, the key he gives her frees her from the delusion of her marriage imprisonment as she sees the truth, but it leads her to the murder that will also imprison her. He broke her heart so she attacks his! Bing’s real “heart trouble” is the fact he doesn’t have one. That’s the heart attack that kills him.

This mixture of humanism and existentialism, our human value and exposure of delusions/lies are central to LOCI. The ambiguity of the ending is also central, that we smile through our tears, because that’s what makes us human, not machines.

That process of investigation is paralleled beautifully in the psyche scene where Gyson begins to unpick the lock on Goren’s inner life, because there are actually 3 cellars containing treasure in this episode, the one where Bing is locked up alone, the one kept private “to limit the vibration” by Kent, and the one that is in Goren where he keeps his innermost privacy under armoured security, having “pulled up the emotional drawbridge to protect himself”. He is heavily fortified there like the armoured car and the armoured Knight of which he is a type.

This cell of his innermost being is “easily opened from the inside unless locked from the outside”. There is something precious and hidden there. As Gyson carefully explores Goren’s relationships and partnerships with Eames who also dramatically “ carries his water” , she is also building up another relationship in the room that Goren can accept and trust so that he opens himself up, to free himself from his lockdown. She is opening the outside so he can open from inside,"condemned to be free"(!)

So the process inwards is the same as the process outwards in the crime case file. Gyson is peeping into him as Goren peeps through the peephole of the wine cellar. When a safe becomes a prison the person inside needs someone on the outside to release them.Otherwise your heart stops. That’s the key to any therapeutic relationship.

Like all episodes this season, Trophy Wine is a memento of all that is LOCI, using past references and reminders- the use of slapstick comic double acts and irony and puns, the range of acting styles from theatrical to Method, the role of Fate><self-determination (“Gods Will or yours?”), Goren’s quirky mannerisms like handclapping or invasion of space, the comparison to knights, the use of Theatre (Romeo and Juliet) and Literature with its own coded linguistic tags like “playing” and the echo device “really, really”, the ambiguous endings without triumphalism, use of animal imagery (fox),the recurring motifs of maps(wall in adjoining interview room) and keys, the use of numbers (3 to 6),the interplay of sumptuous visuals with the verbals, deliberate enhancement of colour for effect, here it’s the warm amber/yellow glows against dark background akin to chiaroscuro (love Eames coat in the dark theatre and the Still Life paintings!), the use of media and mirrors and cameras, the underlying convictions of humanism and existentialism and the frayed hope that shines through….. and always laced with compassion. This is what LOCI has built up over the years with all contributing to the whole.

This episode is rooted in the 5 senses, the appetites. It reminds me of “Senseless” with its appeal to sight and taste and touch…but no sound. Has there been a change of policy over background music because its bland and horrible this season. They haven’t explored that properly. Or that’s Goren’s silence maybe.

I wonder if this episode is indicative of the angles Leight will take SVU- this human web of relationships that sometimes leads to crime but is still part of the tangle that involves us all. How will he organise his irrepressible irony in that context, I wonder?


Oh and where is Fassbinder?He became Binder. Cowards!

Edited by Flatpack, 07 June 2011 - 03:59 AM.


#19 Rubybaby

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Posted 07 June 2011 - 10:58 AM

Fabulous episode this week! And wow, Flatpack! I'm always so impressed with your insights! WHY can't TPTB see how much we love this amazing show and are NOT yet ready to let it go?? Please keep Goren & Eames on the air together in some way, shape, or form! Another seaon of LOCI. Another show with a new format. Occasional TV movies. Something!! PLEASE!

#20 Flatpack

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Posted 07 June 2011 - 11:53 AM

Thanks ruby.There is just something about what they are doing this season......it shines!

Anyway take heart, ratings are in.
This week LOCI made it up to 15th in top 25 cable shows.It went up to 3.9million.
I think it was the highest scripted drama again....Plain Sight came in at 25th with 3.4million.

I know these arent the glory days of season 7 when LOCI was USA's flagship drama.....but its still nice to know it pulls numbers.

Are they renewing Plain Sight? Surely not with those ratings!

Edited by Flatpack, 07 June 2011 - 11:55 AM.





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