Desperate Housewives

Season 6 Episode 18

My Two Young Men

Aired Sunday 9:00 PM Mar 21, 2010 on ABC
out of 10
User Rating
281 votes

By Users

Episode Summary

Susan and Gabrielle go to extreme and shameless lenghts to top each other's kids, whereas Bree invites Sam (guest star Sam Page) over for a family dinner. A party is thrown for Mrs. McCluskey after she beats cancer, and Lynette thinks there is more to Preston's fiancée (guest star Helena Mattsson as Irina) than she's letting on. Meanwhile, Katherine comes out of the closet, though not willingly.moreless

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  • A fun episode!!

    My two young was a really funny and entertaining episode of desperate housewives,

    The most enjoyable part of this episode was the gaby and susan storyline there was some really funny gags there, and also it had a nice heartwarming ending.

    Bree's storyline was actually done well this week, even though im not a fan of the whole Sam thing there was some genuine tension in the van de kamp house this week, also it was nice to see danielle agian after so much time. Lynette's storyline was the weakest this week, the whole irena thing is abit stupid, but it was still entertaining,

    The bolens had some nice scenes this week espically between nick and danny, However the biggest think this week was that katherine left wisteria lane, quite sad to see her go even though the writers pretty much ruined her character, hope dana will make a guest spot or two before the show ends, Overall this was a funny episode, that had me laughing put loudmoreless
  • Hope for the future, but with a great deal to improve upon in the present.

    Welcome, ladies and gentlemen, to the most underwhelming Housewives reveal since Psycho Dave first set his sights on Mike Delfino; yes folks, you guessed it, the worst kept secret in Hollywood is finally unveiled in 'My Two Young Men' as ol' fancy-pants himself, John 'I'm gay you know' Barrowman graces our screens for the first time, playing (you'll never guess) Patrick Logan, Angie Bolan's former nemesis and much-regretted sexual partner. The man who single-handedly transformed the brand spanking incarnation of Doctor Who into a tongue-in-cheek polysexual love fest and made Torchwood the closest thing to a hedonistic queer orgy that you're probably able to get away with at 10pm on BBC3 is well and truly 'in da haus', rocking the boat and sending shivers up and down our spines as he brutally murders Angie's mother's neighbour-cum-treacherous informant for no good reason other than to seem a bit menacing. God love Marc Cherry, eh? He always casts his super-celebs in befitting roles and has never once hired anyone purely out of a desperate desire for ratings and publicity. Nope, definitely. Not.

    Such sarcasm is perhaps a little unfair on our Barrowman, mind. He's perfectly passable here, delivering a performance that, while certainly no stranger to hyperbole, is no more ridiculous than anything else we've come to expect from this most amateur dramatic of shows. In fact, this is probably more understated than most of us expected; it's an interesting decision to have him play the villain and it's a challenge to which he seems quite determined to rise. His charming veneer is a good offset to the sinister sociopath underneath, and the calm, concentrated approach through which he channels his dialogue has a somewhat unnerving effect, unsettling the viewer slightly so that his ultimate turn has a greater impact. Barrowman has enough of a solid skill set to make this role work and to provide some genuine menace, so hopefully, Cherry and co. will rein in their penchant for bombast and grafted-on drama and allow the portrayal to work for itself. Currently, the scenario has a considerable degree of promise, given that it remains relatively shrouded in mystery (it is still unclear whether Julie's attempted murder is connected to this, and the Bolen history requires a great deal of fleshing out), so hopefully, we'll see a notable upturn in the amount of screen time devoted to it, and at the very least, a relatively believable delineation of the issues surrounding eco-terrorism. If Cherry and his band of Merry Men (and Women) take enough time and have sufficient patience to research their topic, this could actually be quite entertaining. Unfortunately, if weeks past are any indication, chances are they'll botch the whole thing and Angie and Patrick will just kick a load of bins around Wysteria Lane for a few weeks.

    But we're getting ahead of ourselves here. This particular aspect of the plot is one of the stronger elements of 'All the Young Men', standing neatly alongside Bree's narrative and certain features of the ever-blossoming relationship between Katherine and Robin. Yes, you read that right folks, that's praise for the lesbianism right there. And no, it's not just because we're about to promptly get rid of it for a little while; it's for the sensitivity with which the issue is handled here. There's a strong undercurrent of believability running the course of the plot, allowing both characters to come to life far more than they have since the scissoring began (okay, okay, I'm sorry...) Katherine's reluctance to openly out herself is completely in keeping with her personality, while Robin's determination to show everyone how happy she is fits well with what's been established about her. When Katherine ultimately asks her to leave, it's one of the most human moments that Housewives has provided in quite some time. And even though the moment is qualified by Mayfair deciding to elope with her, this doesn't negate the scene's impact. If anything, it strengthens it; here, finally, we have a sudden same sex relationship that doesn't balk at the first sign of commitment, that isn't subjected to the restoration of heteronormative equilibrium. Hopefully, Cherry won't simply return Katherine to the Lane in a few weeks in a heartbroken state and have her fall straight into the arms of the nearest gym-happy hunk. Fingers crossed.

    Equally as surprising is Bree's story, in which there are aspects that actually manage to be relatively engaging. The resurgence of Rex, the restoration of his importance to Mrs. Van Der Kamp, is certainly welcome as not only does it allow for a considerable level of fond nostalgia, but it also gives a better grounding to Bree as a character. Marcia Cross is superb here, perfectly evoking the melancholic joy and pain of a woman who has so potently loved and lost. It's a good reminder of from whence the show has came, and the reasons why we fell in love with Marcia's character in the first place. It also offers Shawn Pyfrom and Joy Lauren a chance to take a trip down memory lane and play the sort of beats that their characters seemed to lose a long, long time ago. There's a thoroughly believable sense of tension permeating every scene involving Sam, and certainly no more so than in the moderately amusing dinner sequence. Sadly, the writers do lapse into their usual hyperbolic selves at times: Andrew's ill-fated attempt to play guitar is one such hideous display, while the lingering, sinister looks that Sam throws to, well, no one in particular since they are a rubbish semiotic attempt to infer that there's more to him than meets the eye, are rather laughable. The jury is certainly out on whether this is a sensible development; when it was revealed that the guy was more than a creepy groupie determined to become Bree's son by proxy, the story seemed salvaged from mediocrity. Now, however, it seems that this may have been the writers' plan all along... and the only thing saving it from proving utterly abhorrent is the suggestion that Orson and Andrew might be working together in the weeks to come, and this could be an interesting coupling. Of course, this is small fry compared to what the story could turn into, so it's probably going to take a lot more to fix the problem if it occurs.

    For a great number of these stories, success is predicated on the fact that they have yet to prove problematic; the potential is there for complete and utter disaster but thankfully, Housewives hasn't yet turned those corners. Certainly, this is a less than desirable format; we're essentially just waiting for the programme to disappoint and applauding, apprehensively, when it doesn't. However, this is arguably far more preferable than the considerable amount of dross that fills up the rest of the hour, as first Lynette's and then Gabrielle and Susan's joint narratives threaten to suck the life and soul out of the party and leave the viewer desperate to sew up their own eyelids with a pine needle. Yes, the 'extraneous character whose true intentions are hidden from the one person who should be able to see them' simply refuses to die, offering up a plot that is as predictable as the transformation of night into day. She's bringing the wedding forward and there's nothing Lynette can do about it! Any objections simply... lead to further estrangement from her son! They... manage to successfully manoeuvre around any and every obstacle thrown their way! Well, whaddya know, huh? A plot that stretches itself out for the maximum amount of time without ever proving even the remotest bit challenging or satisfying, and that will unquestionably fizzle out in two weeks time when Lynette finally gets through to Preston. How riveting!

    This all just feels so pointless precisely because we know it will have no lasting impact. It is simply more contrived upset for its own sake; there's nothing here that has added or will add anything to the palate of the characters involved. And the less said about that absolute travesty of a plot involving the Solis and Delfino kids the better; seriously, are they really doing this again? Mere weeks after the last ridiculous competition between the two? You know, the one about beavers and monkeys or whatever that just wasn't funny? Well, what do you know... it's equally as banal again, bereft of any semblance of comedy whatsoever. In fact, it even manages to be rather insulting as MJ's mother makes him sit in a wheelchair for crying out loud, and pretend to be a bloody disabled boy in an attempt to sell some cookies! I'm sorry, but I have a hard time believing that Gabrielle, yet alone Susan, would stoop so low. Honestly, this is all just pointless, humourless filler that wastes a great deal of valuable time and manages to insult the viewer's intelligence simultaneously. For God's sake, do something different for a change, Housewives. Don't rehash plots that were bloody awful to begin with!

    'My Two Young Men' is something of a curate's egg. While the episode continues to demonstrate the writing staff's apparent inability to create something wholly fresh and interesting, resorting in at least two of their narratives to ripping themselves off shamelessly and doing a decidedly botched job of it, at the same time, there are certain elements that manage to both engage and provide a semblance of hope for the remainder of the season. In a shocking twist, the show actually deals with its ratings-grabbing same sex romance in a surprisingly sensitive and believable fashion (let's put aside Lee's reference to 'speedo season', shall we?), while the debut appearance of John Barrowman and the development of Bree's storyline are both notably well handled. All of these stories have the potential to go off the deep end but thankfully, Housewives appears to be hedging its bets for the time being and resisting the temptation to descend into complete banality. Hope for the future, then, but with a great deal to improve upon in the present.moreless
  • My Two Young Men

    So, this was not an incredible Desperate Housewives, but like the case always is, you can count on this show to have you entertained on a Sunday night. We got a preview of the potential conflict in our season finale with Angie, we had Susan actually be part of an interesting storyline for a change, and we got rid of Katherine (good riddance!) She may have helped revitalize the show in Season 4, but since then she has overstayed her welcome (ala Edie) and it was time for her to move on. And don't get me started on my jubilation over the stripper leaving.

    While tonight's episode was good, I wish they could make better use of Lynette. Felicity Huffman is such a good actress and deserves to be involved in something more important than arguing with a Russian gold digger.`moreless
  • Things are heating up.

    I had some fun with this entry of Housewives. Parts of the episode even evoked some of the great Season 1- I am of course speaking about the tension in Bree's household, which felt like classic DH drama underneath the perfection, but I will get to that later.

    Gabrielle and Susan were back at it again. Their kids were doing the fundraiser/candy-drive thing (I used to hate those when I was a kid) and naturally, the mothers got competitive and were soon at each other's throats. Both of them had incentive to win: Juanita has no friends, and MJ has never won at anything. Ever.

    Take your sides and place your bets! The plot played out similarly to the one where Gaby and Susan were trying to figure out which of their kids was smarter, but I think this plot provided a few more laughs, the apex being a psuedo-hostage situation that saw Susan clumsily slap Juanita with detention and Gaby (creepily) lure MJ into her car with a slushie. My money was on Juanita anyway, but I really liked the way the story was resolved. Susan taught her kid the value of a good deed and everyone ended up happy. McClusky beat cancer (hooray!) and the neighborhood got together for her party. This was a great time for Katherine and Robin to publicly announce their relationship- it a relationship? Katherine still isn't too sure, and isn't quite comfortable with what everyone would think (she did also just come out of the nut house). I think she had an understandable plight, and found myself a bit frustrated with Robin's impatience and pushiness. It doesn't come as easy for everyone, you know. All for naught anyway, since they got themselves into a spat over flirting, and awkwardly announced it to everyone overhearing. Their thread ended with Robin's bags seemingly packed for her and Katherine giving her the boot (yes!). But then it turned out Kat is planning to take off with her (no!) while the two figure out just what this all means. *Sigh* I suppose this may be for the best, but I might be a bit annoyed with another extended absence for Dana Delany on the show.

    Preston and the Euro-slut continues to be the weirdest storyline going right now. There are a lot of elements here that a rubbing me the wrong way. Their age difference. The wanton public displays of affection. That mustache. I need Lynette to take care of this, but Irina is proving to be a difficult adversary. Lynn thought she could trick them into getting their own place with the hopes that they would soon drive each other crazy and break up. No dice. The young lovers ended up finding a great place, and Preston even got himself a job. Irina fired back by having him move the wedding up to next week! Outrageous. Ridiculous. That mustache. I can't wait for this storyline to be over, but I must admit, I am curious about how this will play out.

    Plot of the night for me has to go to Bree, who invited Sam the bastard to dinner. Just the image of the whole family around the dinner table conjured up S1 nostalgia for me and the tension Andrew caused was really great. Once a snot always a snot; I hated him back then, and I hated him here, but I mean that in a good way. The 'dysfunctional suburbia' theme was always represented well through Bree's stories and has been one of Housewives' greatest strengths for years. The best scene of the night was easily Andrew's smashing of his father's guitar- just so Sam couldn't have it. Tense! But the thing is, as perfect as Sam seems, there is still something going on underneath the surface, as Mary Alice's wonderful voice overs attest. Now Orson is beginning to suspect something too, and he and Drew have formed a bit of an alliance. This is the most interesting story going.

    More interesting than the Bolens, I think, though they did get to heat things up a little bit, with Old Lady Eavesdropper spilling her information to Patrick, who finally made his debut! Too bad it's too late for me to care. Pat seemingly killed the old woman (off screen) and is now parked clandestine on Wysteria Lane, waiting to make his move on either Nick, Angie, or Danny. Or all of them. What is this show without a little murder? Let the games begin!moreless
Helena Mattsson

Helena Mattsson

Irina Korsakov

Guest Star

Ellen Crawford

Ellen Crawford

Iris Beckley

Guest Star

Wendy Benson

Wendy Benson

Colleen Henderson (as Jean)

Guest Star

John Barrowman

John Barrowman

Patrick Logan

Recurring Role

Max Carver

Max Carver

Preston Scavo

Recurring Role

Julie Benz

Julie Benz

Robin Gallagher

Recurring Role

Trivia, Notes, Quotes and Allusions