Edie Falco

A disparate group of performers gathers to celebrate the life and music of John Lennon in this 90-minute concert, recorded in 2001 at New York's Radio City Music Hall and originally broadcast on the WB Television Network. Considering both the setting and the fact that it came just three weeks after the events of September 11, it's not surprising that the show has a somewhat somber tone, but that makes Lennon's message of universal peace somehow all the more relevant. As for the songs, the majority come from Lennon's Beatle days, including "In My Life" (Dave Matthews), "Strawberry Fields Forever" (Cyndi Lauper), and "Dear Prudence" (Alanis Morissette); but it's the material from his solo years that yields the most passionate performances, especially by Shelby Lynne ("Mother") and Lou Reed ("Jealous Guy"). Host Kevin Spacey does a surprisingly effective turn on "Mind Games," and the inclusion of Lennon's son Sean is both appropriate and touching. Nice. --Sam Graham

A disparate group of performers gathers to celebrate the life and music of John Lennon in this 90-minute concert, recorded in 2001 at New York's Radio City Music Hall and originally broadcast on the WB Television Network. Considering both the setting and the fact that it came just three weeks after the events of September 11, it's not surprising that the show has a somewhat somber tone, but that makes Lennon's message of universal peace somehow all the more relevant. As for the songs, the majority come from Lennon's Beatle days, including "In My Life" (Dave Matthews), "Strawberry Fields Forever" (Cyndi Lauper), and "Dear Prudence" (Alanis Morissette); but it's the material from his solo years that yields the most passionate performances, especially by Shelby Lynne ("Mother") and Lou Reed ("Jealous Guy"). Host Kevin Spacey does a surprisingly effective turn on "Mind Games," and the inclusion of Lennon's son Sean is both appropriate and touching. Nice. --Sam Graham

John Lennon Come Together - A Night For John Lennon's Words & Music US DVD

A disparate group of performers gathers to celebrate the life and music of John Lennon in this 90-minute concert, recorded in 2001 at New York's Radio City Music Hall and originally broadcast on the WB Television Network. Considering both the setting and the fact that it came just three weeks after the events of September 11, it's not surprising that the show has a somewhat somber tone, but that makes Lennon's message of universal peace somehow all the more relevant. As for the songs, the majority come from Lennon's Beatle days, including "In My Life" (Dave Matthews), "Strawberry Fields Forever" (Cyndi Lauper), and "Dear Prudence" (Alanis Morissette); but it's the material from his solo years that yields the most passionate performances, especially by Shelby Lynne ("Mother") and Lou Reed ("Jealous Guy"). Host Kevin Spacey does a surprisingly effective turn on "Mind Games," and the inclusion of Lennon's son Sean is both appropriate and touching. Nice. --Sam Graham

In its second season, The Sopranos sustains the edgy intelligence and unpredictable, genre-warping narrative momentum that made this modern mob saga the most critically acclaimed series of the late 1990s. Creator-producer David Chase repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between capo Tony Soprano (James Gandolfini) and monstrous matriarch Livia (Nancy Marchand), whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Jennifer Melfi (Lorraine Bracco) also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow, as well as son Anthony Jr.'s sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement. Without spoiling the surprise of the season's climactic last episode, it's worth noting that only on The Sopranos could we expect a scene that sets up a mob hit with a perversely funny touch of magic realism--a talking fish, lying on a fishmonger's iced display, speaking with the voice of the victim. It's a touch at once morbid and goofy, and consistent with the show's undimmed brilliance. --Sam Sutherland

For Tony Soprano, there's no such thing as business as usual. Balancing the demands of his immediate family - wife Carmela, daughter Meadow and son Anthony Jr. - with the demands of his other family - Paulie Walnuts, Silvio Dante and Big Pussy Bompensiero - means walking a tightrope no self-respecting mobster should have to walk.

A much-loved cult favorite often overlooked by the mainstream, Trust is a hip, witty film that stretches the definition of a "romantic comedy." Hal Hartley's quirky, minimalist masterpiece--miles ahead of such later attempts as Amateur and Henry Fool--comes from the same school of offbeat character studies that launched better-known directors Jonathan Demme (Married to the Mob, Silence of the Lambs) and Whit Stillman (Metropolitan, The Last Days of Disco). Trust, like more conventional romances, tells the story of a blossoming relationship between two souls who are lost without each other--but the resemblance to ordinary love stories ends there. Matthew Slaughter (The Opposite of Sex's Martin Donovan) is a lovable, overeducated misanthrope (he always carries a hand grenade, as he says, "just in case..."). He's matched brilliantly with spoiled ex-cheerleader Maria Coughlin (Adrienne Shelly), a pregnant high-school dropout going through a full-blown existential crisis, largely because her allowance is being cut off. As their lives intersect, they are united by their bitter cynicism--twin pessimists condemned by their dysfunctional families and the shallow suburbanites around them ... and, despite their best efforts, destined for true romance. If you never thought brutally dry humor could be laugh-out-loud funny, then this is one movie you need to see. --Grant Balfour

The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: Like 1999's other screen touchstone, American Beauty, the HBO series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get. Unlike Francis Coppola's operatic dramatization of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful, and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchmen and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed. The first season's other life force is Livia Soprano, Tony's monstrous, meddle

The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: Like 1999's other screen touchstone, American Beauty, the HBO series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get. Unlike Francis Coppola's operatic dramatization of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful, and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchmen and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland

In season two, Nurse Jackie's title character was hiding prescription drugs in her daughters' plastic Easter eggs. Now, in season three (with 12 episodes, plus bonus material, on three discs), she's stealing pain medicine intended for cancer patients. And so continues the slow but inexorable downward spiral of Jackie Peyton (Emmy winner Edie Falco, excellent as always), one of the more conflicted and nuanced individuals on TV. It's not a pretty sight--compelling, yes, and often darkly funny, but sometimes also hard to watch, as a basically appealing character's reaction to the deep hole she's put herself in is to pull out a shovel and keep digging. As the season opens, Jackie has rejected an attempt at a drug intervention by husband Kevin (Dominic Fumusa) and best friend Dr. O'Hara (Eve Best). This is a "world-class liar," as one character describes her, and by now Jackie's very skilled at denying she has a habit while taking ever more sneaky steps to satisfy it, regardless of the effects on her relationships with anyone in her orbit (the task doesn't get any easier when her dealer is run over by a truck). Still, when it comes to the patients, she's also the most caring, if occasionally vengeful, caregiver at New York's All Saints Hospital, a nurse who comforts a father whose son has just died of renal failure, blindsides a jerk on a skateboard who nearly runs over an elderly woman (breaking his wrist in the process), or helps a kid whose own mother is a hopeless druggie. Meanwhile, the ensemble work by the other regular members of the cast--nurses Zoey (Merritt Wever), Thor (Stephen Wallem), Sam (Arjun Gupta), and threatening newcomer Kelly (Gbenga Akinnagbe); preening Dr. Cooper (Peter Facinelli); boss Gloria Akalitus (Anna Deavere Smith); and pharmacist/sometime boyfriend Eddie (Paul Schulze)--is better than ever at maintaining the show's balance of pathos, quirky humor, and interpersonal drama. There are also a few curves thrown our way--especially in episode 12, when an out-of-left-field confession reveals Jackie to be a first-class hypocrite on top of everything else--that are sure to keep viewers coming back for season four. --Sam Graham

All 12 episodes from the third season--including "Game On," "Rat Falls," "Orchids and Salami," "Have You Met Ms. Jones?," and "Batting Practice"--are featured in a three-disc set. 5 1/2 hrs. total. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1 EX, Dolby Digital stereo; Subtitles: English, Spanish; audio commentary; featurettes; gag reel. **12 episodes on 3 discs. 5 1/2 hrs.**

Adultery. Drug addiction. Serial lying. Childhood development problems. Hey, everyone's got to have a little fun, right? The curious thing about Nurse Jackie, the Showtime series whose second season is released here with 12 episodes on three discs, is that it does manage to make some of these issues amusing, at least in a darkly humorous kind of way; this is a dramedy with some real bite. Much of that is due to the presence of Emmy winner Edie Falco as Jackie Peyton, a character who remains alternately appealing and appalling as she tries to keep her life afloat in increasingly treacherous seas. When the first season ended, Jackie's unsustainable romantic balancing act was on the verge of collapse after her lover, once and future hospital pharmacist Eddie (Paul Schulze), saw her with husband Kevin (Dominic Fumusa) and their two young daughters; things get considerably creepier this time around, as Eddie gradually insinuates himself into Jackie's home life by becoming friends with Kevin. That's not all. Daughter Grace, previously diagnosed with something called "generalized anxiety disorder," is deteriorating into full-on weirdness. Jackie's pill popping is becoming a huge problem as well; hiding drugs in her kids' plastic Easter eggs is bad, stealing them from the hospital is worse, and having a new nurse (Arjun Gupta) who is himself a recovering addict and knows exactly what Jackie's up to is the worst of all. And yet, this flawed, conflicted character remains someone you'd want at your bedside in the ER; despite all her problems, Jackie still finds the time to bake pot brownies to ease the pain of a touchingly lonely, dying cancer patient, offering a quality of mercy that's totally beyond the ken of coworkers like beleaguered boss Gloria Akalitus (Anna Deavere Smith) and young Dr. Fitch Cooper (Peter Facinelli), a clueless narcissist who remains the show's most annoying character. Nice performances are also turned in by Eve Best as the jaded, lusty Dr. O'Hara and Merritt Wever as the green but promising nurse Zoey Barkow, but after the second season ends with another cliffhanger, it's Nurse Jackie's fate we'll be wondering about when the third one begins. Bonus features include a couple of short featurettes and cast and crew audio commentary. --Sam Graham

All 12 episodes from the second season--including "Comfort Food," "Apple Bong," "Silly String," "Sleeping Dogs," and "Years of Service"--are featured in a three-disc set. 5 1/2 hrs. total. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1 EX, English Dolby Digital stereo; Subtitles: English, Spanish; audio commentary; featurettes; gag reel. **12 episodes on 3 discs. 5 1/2 hrs.**

This youth T-shirt is an officially licensed product from the television show Nurse Jackie. The shirt features our cool TV Show Logo design printed on 100% cotton. Also available in adult and junior sizes.

Each T-shirt is officially licensed, and brand new. A must have for any fan of the hit TV series!

This juniors T-shirt is an officially licensed product from the television show Nurse Jackie. The shirt features our cool TV Show Logo design printed on a sheer-weight cotton crop sleeve fitted juniors T-shirt. Also available in adult and youth sizes.

OK! Weekly Magazine, May 1, 2006 Issue. The cover is Jennifer Aniston. Also featured inside are Jessica Simpson, Janet Jackson, Ashlee Simpson, Kate Moss, Beyonce, Katie Holmes, Halle Berry, Michael Douglas & Catherine Zeta-Jones, Mandy Moore (4 pages), Naomi Campbell, Leonardo DiCaprio, Kelly Rowan of The O.C. (6 pages), The Goo Goo Dolls, Edie Falco, Don Johnson, Taylor Hicks, Craig Ferguson, etc...