In response to questions about some of Obama's current initiatives, Plouffe asserted that "If we do not get this [health care reform] done now... we deserve what comes to us." He made it clear that Democrats should be safe in 2010 if they can point to accomplishments with regard to the economy, health care, and education; if progress is not made on these fronts, the Republicans may have a stronger chance to overthrow the Democrats' hold. Plouffe also outlined a crucial distinction between leadership and legislation, recognizing the importance of both actions in politics but putting particular importance on the inspirational quality of the former.

Plouffe stressed that politics is a process and can't be judged "like a baseball game" that takes place under particular conditions and within a specific timeframe. Despite the inherently uncertain and drawn-out nature of process, though, Plouffe advised, "If you can know something, know it. Eliminate opinions." With America-haters spouting often-unfounded opinions on the airwaves left and right, the ability to know remains central to making informed decisions: never trust what one source has to say.

Overall, Plouffe came off as a politically savvy figure, successfully dodging some tough audience questions about "Don't Ask, Don't Give" and foreign policy, and even employing that trademark (Bill) Clinton gesture. Despite his status as someone who knows (and plays) the "game," Plouffe still visibly believes in the power of people to create change in spite of politics. We can all work together to help make him right.

His confidence isn't surprising, since, along with krump, he's trained in ballet, modern dance, and tap. He also lists such diverse dancers as Savion Glover, Gene Kelly, and Michael Jackson as influences--in fact, last night's episode featured footage of a 7-year-old Russell performing at the Hatch Shell to Jackson's Billie Jean.

One thing Russell does admit to being nervous about is doing well with the show's voting audience. He says that no matter how a performance goes, "You don't know what people are looking for and what they're going to like and vote for. It's really all about your popularity, so it's kind of a blind road."

Tune in tonight at eight on Fox to see if Russell survives the week. We're going to assume he does and also tell you to watch the performance show next Tuesday at eight, then vote for him early and often.

And! How sad/awesome is it to hear “frak” on TV again?

Our second-favorite machiney-type being (Six would kick her ass in any sort of fight) takes pride of place on the teaser. Zoe Graystone (Alessandra Torresani) is the daughter of scientist Daniel Graystone (the smoking hot Eric Stoltz) and the first ever fleshy Cylon model. The design team for the poster went for an over-the-top Adam and Eve reference, but with good reason. The combination of temptation—should we or shouldn’t we try to make machines that look and act like humans—and eventual creation of a new human civilization on our Earth plays out well. Plus, the toplessness should attract at least a handful of curious viewers.

We expect:
-More sweet virtual reality holoband action

-Religion to further frak things up
-Eric Stoltz to keep wearing those sexy glasses

We want:
-Some glimpse of the fleet in space. Maybe we could see a couple of pilots every now and then?

There’s still more than enough time to consume the Battlestar oeuvre for the first time (or the 50th) in preparation, but feel free to catch up the easy way:

(Watch and wait for the phrase, “bun in the toaster.” Classic.)

And get excited for Caprica:

Watch The Plan too, while you’re at it. It’s not half bad.

(Images from here, here and here)

Overall, this year's Boston Jewish Film Festival has been a success. There were a number of excellent narrative features, including Eli and Ben and Hello Goodbye, as well as a strong documentary program. Killing Kastner is an important documentary as well as a good one, bringing a woman together with her father's assassin and gently questioning curation of the Holocaust. Sons of Sakhnin United, tracing the story of Arab-Israeli soccer team B'nei Sakhnin, is so kinetic early on that it can survive its eventual flame-out in an ending that's at once climax and anti-climax. This screening of Camera Obscura, a not-quite valedictory address for the festival, at least reminds us how important the local film festivals are. There's no other venue for this movie, nor a likely audience.