Did Robert Frost Have A Turkey Quota?

The Hope Zion family must band together to overcome the tragedy and move on to the next chapter of their lives-- a last episode caption.

The medical drama Saving Hope, in the plethora of medical dramas spiraling outward since the innovations of St. Elsewhere, which have yet to be matched by commercial productions, relies very heavily on its metaphysical gimmick, and in broader Hollywood terms, this gimmick, deployed left, right, and sideways, (as in the recently canceled Midnight Texas, which made a heroic effort to substantiate the grievance and perplexity of gender fluidity, failing rather like an anemic carnival) is a concession to the human insistence on spirituality. Michael Shanks simply doesn't have the range to play Dr. Kildare peeping in on the stairway to heaven, which may reflect way NBC shelved the series in its second season. As Charlie, Shanks is henpecked into his privileged information by these civil, more or less disconcerted human souls refracting in the distorted florescent lighting. The secondary reason the series bites the dust north of the border is because it's simply a bad emulation of the American scene. Joseph Iavarone's death at the hands of his neighbor's plug shot in my county of adolescence is a much more graphic representation of America on edge in its post-9/11 edge, and the CBC can never accurately embrace the cowboy and indian games we Americans play in our cancered suburban sectionalism. Why Hugh Laurie and David Strathairn can capture it in a deftly concentrated episode like "Lockdown" is a reflection of Laurie's ability not to fear his own cruelty and Strathairn's ability to condense gravity into on emotive weight at least equal to the force of a metric ton. This is how great acting conduits great dramatic moments, dying in the fusillade of life like a sligshot toward reincarnation that is never exactly the same, despite the bastardization of quantum mechanics onto the popular imagination via the witticisms of Brian Greene.