User Reviews

This is a bit of an unusual episode but I loved it very much. It came in a good time when now they get rid of both Peter and Mark I enjoyed getting to now the other important characters better and maybe like them more.

It was surprising how they reacted so negatively to the sex toys but this is what brought us this amazing situation, so I won't complain.

The episode feels a bit like a Breakfast Club ER style. We get to know the characters better and they confront each other on their prejudices and behavior. Very great to see them so open and talk about their past and where they came from to become who they are.

I am just kind of sad for Susan and Carter. Well as long as they stay great friends, which they should be.

And it had also a bunch of fun moments, including the one where Weaver finds a dildo in her locker.

It's almost a stand-alone episodes.Modeled after the John Hughes film, "The Breakfast Club." The episode really develops Luka's character as well as Gallant's

Can't help but think you are watching breakfast club.

As above. Very enjoyable as a stand alone plus there's the Coco from Fame Easter Egg courtesy of Susan.

Fun episode with some of the most interesting characters on the show. Bummed for Carter and Susan as the spark just isn't there. Hope Abby and Carter don't make a go of it as I don't think either one is good for the other.

Added bonus to this episode is the absence of another of Chen's high school drama performances. Seriously can't believe they wrote her back into the show...she should stick to cartoons.

One of the writers was obviously wanting to do a mirror copy of one of the best teen movies ever made in "The Breakfast Club." Unfortunately, while the Breakfast Club was funny and compelling, this episode largely falls flat on both counts. It's understandable when teens try to act cool. It's just embarrassing and pathetic when adults try.

Similarities in three guys and two gals. Weaver was obviously supposed to be like Richard Vernon.

Perhaps it might have worked better if they'd hired John Hughes to write it. Instead, we get five adults who are regressed to high school simpletons. Lewis and Lockhart are gossiping and playing teenage games, while Carter and Luka end up in a ridiculous fencing duel. And we find out that flaky Lewis has a real short memory, insisting that Greene was in love with her and that she didn't reciprocate those feelings. And yet, she was on train shouting to Greene, "I love you too!" I guess Lewis has some growing up to do too.

The funniest scenes were actually in the very beginning when they go through the bag and Weaver finding the "surprise" in her locker. An obvious filler episode that really doesn't quite work. I still remember seeing it when it first aired. It was annoying then, and it's annoying now.

Oh, and the only other bonus is Carter and Lewis FINALLY calling it quits. They never had chemistry and the pairing was awkward at best. Guess it takes some writers longer to realize when something isn't working than others. It's just too bad that someone didn't tell this one to stay clear of copying classic movies and making a mockery out of it.

P. S. Carter was absolutely right about reality TV. Only for vultures with such low self-esteem that they take pleasure in the pain of others because it keeps them from facing their own.

Susan admitted she friendzoned Mark Greene from the beginning, yet led him on while he thought he "loved" her.

The only thing worse than Carter and Luka acting tough was Abby and Susan--the masculine and ugly women--pretending to be relationship experts.

ER started out pretty strong balancing the professional and personal, with the emphasis on the former. It was never quite as even-handed as, say, St. Elsewhere, but then the medical stuff was more procedural and, for the most part, convincing if not always accurate.

As time wore on, the scripts became more general and soap-opera-y, to the degree that rather than a single are-they/aren't-they couple representing the office romance side of things, they're all bed-hopping, exchanging partners as though the hospital is an otherwise deserted island. You can see the shift, but this particular episode serves as a turning point the series never really recovered from, as we spend a nauseatingly large portion of it listening to the nauseatingly juvenile details of everyone's nauseating personal lives.

The women, in particular, come across as high school sophomore cheerleader types, a kind of mean girl clique that laughs and sneers at the men ("Oh, those boys.") while getting into immature hijinks, like playing with a patient's sex toys or pestering a rich colleague for how much his family is worth and then shaming him for it. The men, for the most part, are like 1950s dads, that is, tolerating it with a kind of "What are you going to do about it?" resignation while they try to read their newspapers and escape the unrelenting hectoring. At least until they get into a sophomoric sword fight. I'm not joking.

You can tell these writers are either less equipped or less interested in the actual medical side of things -- not even to a perfunctory degree. From this point on, the series really should have been called ER: The Real World, the irony being like any cheesy reality show, it's about the narcissism of the participants and not anything more. But these aren't airhead 18-year-olds whose biggest aspiration is to bed somebody "hot" and work at Forever 21. They're supposed to be 30-somethings long past their first year of college.