The "normal" suburban life for a group of close-knit housewives takes a dark turn when one of their closest friends mysteriously commits suicide. Now while trying to deal with their own hectic problems and romantic lives, each year brings on a new mystery and more dark and twisted events to come. Life behind closed doors is about to be revealed as suburban life takes a funny and dark turn. Written by
Season eight episodes that have Stephen Sondheim song titles or lyric references as their show titles (Except where denoted): - 8.1 Secrets That I Never Want To Know (Lyric line from the song I Know Things Now from Into the Woods). - 8.2 Making the Connection (Lyric line from the song Putting It Together From Sunday In the Park With George). - 8.3 Watch While I Revise The World (Lyric line from the song Beautiful From Sunday In the Park With George). - 8.4 School of Hard Knocks (Song title from Climb High). - 8.5 Art of Making Art (Lyric line from the song Putting It Together From Sunday In the Park With George). - 8.6 Witch's Lament (Song title from Into the Woods. aka Lament). - 8.7 Always In Control (Lyric line from Marry Me A Little original cut and latter reinstated into Company. Also used in Marry Me A Little). - 8.8 Suspicion Song (Song Title from The Exception and the Rule aka The Race to Urga and A Pray by Blech. Abandoned Music by Leonard Bernstein). - 8.9 Putting It Together (Song Title from Sunday In The Park With George). - 8.10 What's To Discuss Old Friend (Lyric line from Old Friends from Merrily We Roll Along). - 8.11 Who Can Say What's True? (Lyric line from No One Is Alone from Into the Woods). - 8.12 What's the Good of Being Good (Lyric line from Prologue (Act 1) from Into the Woods). - 8.13 Is This What You Call Love? (Song title from Passion). - 8.14 Get Out of My Life (Song title from Bounce). - 8.15 She Needs Me (title for an unused from Manos Hadjidakis' 1967 musical Illya Darling, for which Sondheim wrote lyrics for just this song). - 8.16 You Take for Granted (lyric line from Good Thing Going from Merrily We Roll Along). - 8.17 Women and Death (track title from the Sondheim-written score for the 1974 movie Stavisky). - 8.18 Any Moment (part of a song title from Into the Woods). - 8.19 With So Little to Be Sure Of (song title from Anyone Can Whistle). - 8.20 Lost My Power (lyric from Ever After from Into the Woods). - 8.21 The People Will Hear (song title from All That Glitters). - 8.22 Give Me the Blame (lyric from Last Midnight from Into the Woods). 8.23 Finishing the Hat (song title from Sunday in the Park with George; also the title of Sondheim's first book of collected lyrics (1954-1981)). See more »
Although the creators of the show keep the location of Wisteria Lane a secret, several clues have been given that contradict each other. For example, in the first season the restaurant Saddle Ranch is featured once, suggesting that the mystery location is either in California or Arizona, where the restaurant has locations. However, two families, the Applewhites and the Mayfairs had moved from Chicago suggesting that Fairview is near there. Those two cities are very far from each other. When Renee (Vanessa Williams) arrives she tells Lynette that she flew all the way across the country to see her. Renee lives in NYC so that would suggest Fairview is on the west coast of the United States.
There is also a scene where Suzy is looking for her ex-husband's grandmother's ring. You can see a sign for US Highway 7 which runs from Norwalk, CT, to just south of the Canadian border in Vermont. See more »
The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened.
Well, then, good luck on your remodel.
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In the first season a shortened version of the credits was shown in the Premiere and the Finale. See more »
Not just a cult show, but the best show on television.
Think of it as Twin Peaks without the midgets and hunchbacks --and Kyle MacLachlan eating dessert.
This show is just bizarre and enigmatic enough to hook the broad and deep audience that deserted network series television so long ago that they find themselves doubting now whether TV was ever worth the trouble.
I have a hard time selling this series to the guys I know because they assume it's another night time soap ala Melrose Place. But I do try. Really dangerously funny stuff. I predict a popular backlash against this show, and have in fact seen some evidence of it already, simply because so many people are crazy about this show and cannot say enough good things about it. People are tiring of hearing that. But have patience, and don't try to read between the lines of fan praise. It is worth a watch. If only once. Three episodes in, there hasn't been a dud yet. These people will make a mint on First Season DVDs, and deserve to. The sharpest, wittiest, most wildly unpredictable writing now being done. --Makes other "well written" shows, like the CSIs, look as drab as Dragnet.
The bar has just been raised for those making series television. Most TV writers and producers will have to ignore the influence, though, because they won't be able to touch it.
Ten stars, times ten. -------------------
The above review was written close to the beginning of the series. As we get as deep into the second season as we were in the first season where I wrote the above review, a revisit of the series is needed.
Brie is decidedly less funny over time. Maybe more satisfying in a mean way, but less ha ha funny. They have stopped writing those screamingly funny scenes for her, that hinged on what was essentially a neat freak, prim and retentive personality disorder. Remember the burrito sliding off the nightstand at a strategic moment? The tossing of the specimen on Rex at the golf course? The comment on Rex's crying at a dinner party? These scenes, built around Brie, comprised the best moments of the first season, and gone they are, apparently for good, from the second season. This is part of the shows overall shift toward making the luckless, loveless, hard-scrabbling housewives (who overall have a blend of great luck and foul luck, just like real life) "empowered" and impervious. It's inevitable that, with that agenda, the writers are not going to have as much funny stuff for any of the characters to do.
Perhaps as writing chores are handed around-- or more retentively screened by the cast or the powers that be at ABC-- the writers are beginning to write some of the cast "out of character." For example, Gabrielle cracks snide at some rough looking characters at a prison marriage counseling session, when 1) last season her character would have pulled a funny face, maybe insulted their wardrobe, like the essentially clueless and rapacious Barbie doll she is, and gone on or 2) in real life, they'd have mopped the floor with her. She is too prissy, and anorexic-looking for that matter, to deliver some of the tough-girl lines they are handing her. Sorry, but this much is obvious. They are writing Gabrielle and Brie out of character this season.
Other than these flaws -- which are major, in my opinion -- the series still has its moments. But the humor is starting to take precedence behind the conflict and mysteries. We draw closer to the non ironic melodrama world of Dynasty and Melrose Place than we were in the first season. Once, you could have said there was no show with quite the attitude and ambiance of Desperate Housewives first season. Now, you can say that again. The show we knew is slipping away into mundane sameness, and its unpredictability is becoming too patented and predictable. And I find that really too bad.
The show has fallen from 10 of 10 to more like 6 of 10.
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