Joel Grey

House (Hugh Laurie) doesn't have too many idols, but 71-year-old cancer researcher Ezra Powell (Joel Grey) can qualify as one of them. After collapsing in his lab, Powell is rushed to the clinic,, where the staff can't agree whether he is suffering from a heart ailment or lung disease. Frankly, Powell could care less: He simply wants to die--and demands that the staff assist him in his demise. Much to the horrified astonishment of his colleagues, House tells Powell that he'll do anything he asks! And in another development, a congestion patient's 17-year-old daughter (Leighton Meester) develops a crush on House and refuses to leave him alone...on or off the job. This episode was directed by ER regular Laura Innes. ~ Hal Erickson, All Movie Guide

Broadway's Lost Treasures is a two-hour collection of musical highlights, culled from 19 years (1967-1986) of Tony Awards telecasts by Christopher A. Cohen, son of the original telecasts' producers, Alexander H. Cohen and Hildy Parks. The program is divided into four self-explanatory segments -- "Broadway Divas," "Leading Men," "Dancin'," and "Record Breakers" -- and presented by hosts Angela Lansbury, Jerry Orbach, and Chita Rivera. Musical numbers include the "Broadway Divas": Vivian Blaine ("Adelaide's Lament" from Guys and Dolls), Patti LuPone("A New Argentina" from Evita), Angela Lansbury ("The Worst Pies in London" from Sweeney Todd), Carol Channing ("Before the Parade Passes By" from Hello Dolly), and Julie Andrews ("Send in the Clowns" from A Little Night Music). Next up are the "Leading Men": Zero Mostel ("If I Were a Rich Man" from Fiddler on the Roof), Yul Brynner ("Shall We Dance?" from The King and I), John Raitt ("Hey There" from The Pajama Game), Robert Preston ("Trouble" from The Music Man), and Paul Lynde("Kids" from Bye Bye Birdie). Now for the "Dancin'": Joel Grey ("Wilkommen" from Cabaret), Tommy Tune and Twiggy ("Chasin' the Clouds Away" from My One and Only), Chita Rivera and Gwen Verdon perform "All That Jazz" and "Nowadays" from Chicago, and Jerry Orbach from 42nd Street ("Lullaby of Broadway"). Then there are the "Record Breakers": Andrea McArdle and cast ("Tomorrow" from Annie), the cast of Annie ("You're Never Fully Dressed Without a Smile"), and Betty Buckley and the cast of Cats) ("Jellicle Songs" and "Memory"). This also includes the bonus performances not seen on the PBS pledge-special broadcasts: Ann Miller and Mickey Rooney ("McHugh Medley" from Sugar Babies), Patti LuPone ("Buenos Aires" from Evita), Barbara Harris ("Movie Star Gorgeous" from The Apple Tree), Bonnie Franklin ("Applause" from Applause), and Dorothy Loudon and cast ("Easy Street" and "Tomorrow" (reprise) from Annie). ~ Laura Mahnken, All Movie Guide

Joel Grey makes his first appearance as Ronald, an oddball angel from the Records and Permanent Files division. Showing up while the other angels are preparing a surprise party for Tess (Della Reese), Ronald comments that he'd love to be a Heavenly caseworker, but he's too insecure--and besides, he's never come into contact with any human beings. Meanwhile, Tess is having more "contact" than she'd prefer with Kelly Rockhill (Mel Harris), the embittered cashier at a combination diner and car repair shop. Unless Kelly is willing to grant Tess a favor, the surprise party may never come off--but Kelly has been burned once too often by past favors that have resulted in disillusionment, despair, and even death. ~ Hal Erickson, All Movie Guide

As hell-god Glory (Clare Kramer) prepares for the precise moment when she can cut Dawn (Michelle Trachtenberg) open and unleash pan-dimensional Armageddon, Buffy (Sarah Michelle Gellar) and the Scoobies prepare for the fight of their lives. Giles (Anthony Stewart Head) advocates killing Dawn if it will prevent the Apocalypse, arguing that she isn't even really Buffy's sister. But the Slayer vows to save both the world and Dawn, who was fashioned from Buffy's own flesh and blood as the human incarnation of the ancient key that Glory needs to open the doorway back to her own dimension. Meanwhile, facing certain death, Xander (Nicholas Brendon) proposes to girlfriend Anya (Emma Caulfield) even as enchantress Willow (Alyson Hannigan) comes up with a way restore the shattered mind of her own lover, Tara (Amber Benson). Spike (James Marsters) and Buffy gather up weapons and share a tender moment. Then it's time to let poor, mad Tara lead the way to the patchwork tower of steel girders that Glory's other brain-drained victims have constructed as the stage for their mistress' descent back to hell. Arriving on the scene, Willow casts her spell, draining Tara's mind from Glory and back into Tara. Glory thus befuddled, Buffy throws everything she's got at the hell-goddess: serious punches, a mystical troll's hammer, and even a robot decoy. By the time Xander weighs in with a wrecking ball, Glory's had it. She reverts to the form of her human host, Ben (Charlie Weber), whom Giles quietly smothers in order to end Glory's threat. But atop the tower, despite the best efforts of Spike, one of Glory's minions manages to spill Dawn's blood and begin the convergence of hell and earth. As an interdimensional vortex begins to grow, unleashing demons in its wake, Dawn prepares to leap into the void and put an end to the destruction. But her sister stops her, announcing the she finally knows what the spirit of the First Slayer meant when she told Buffy her greatest gift was death. Because Dawn and Buffy share the same blood, Buffy too can close the portal. Promising Dawn she'll always love her, Buffy plunges into the vortex, which short-circuits -- dropping the Slayer's corpse onto the ground below. Buffy's tombstone serves as a solemn reminder: "Buffy Anne Summers...1981-2001...She saved the world. A lot." Originally broadcast May 22, 2001, on the WB network, "The Gift" marked episode 100 of the cult-favorite series. It was also the last new episode to premiere on the WB; beginning with the season six opener, "Bargaining, Part 1," the program moved to the rival UPN network for two additional seasons. ~ Brian J. Dillard, All Movie Guide

Armistead Maupin's colorful saga of life in San Francisco in the 1970s continues in this miniseries, the third following the characters of his serialized novel Tales of the City, which follows the story into 1981. After his relationship with Jon Fielding (Bill Campbell) comes to an end, Michael Tolliver (Paul Hopkins) throws himself back into dating, while Prue Giroux (Mary Kay Place) finds herself in a similar situation after her divorce. Mary Ann Singleton (Laura Linney) finds that moving ahead in her career in local television is an uphill battle, while her boyfriend Brian Hawkins (Whip Hubley) is feeling the strain of adjusting to his new job while staying faithful to Mary Ann. And DeDe (Barbara Garrick) has some startling news for Mary Ann that could have a major impact on her life. Produced for the Showtime premium cable network, Further Tales of the City also stars Olympia Dukakis, Bruce McCulloch, Henry Czerny, Sandra Oh, Parker Posey, Scott Thompson, and Joel Grey. ~ Mark Deming, All Movie Guide

Reportedly the third in acclaimed director Lars von Trier's "Golden Hearts" trilogy (preceded by Breaking the Waves and The Idiots), this film is a hip reworking of the classic Hollywood Musical, starring international pop diva Bjork. Set somewhere in rural Washington state, Czech immigrant Selma (Bjork) works in a pressing plant, struggling to make ends meet for herself and her 10-year-old son, Gene (Vladica Kostic). Her best friend is coworker and fellow European Kathy (Catherine Deneuve). While outside work, she is maintaining a cautious friendship with local yokel Jeff (Peter Stormare). She also landed a starring role as Maria in an amateur production of The Sound of Music. Selma's life would be one of relative contentment if it were not for the ugly secret she harbors -- she is on the verge of blindness due to a genetic disorder, and her young son will suffer the same fate without an operation. Selma has quietly been stashing away money for the surgery and has already amassed $2,000. When her savings, squirreled away in a can in the kitchen, suddenly disappear, she confronts her cash-strapped landlord Bill (David Morse). Of course, like all musicals, the plot periodically takes a backseat to the seven production numbers, including a show-stopping sequence in Selma's factory. Shot entirely on digital video, the film reportedly used up to 100 cameras for each musical number. Dancer in the Dark received top prizes at the 2000 Cannes Film Festival including Best Actress for Bjork and the coveted Palme d'Or for Best Picture. ~ Jonathan Crow, All Movie Guide

Aimed at older children, this gentle, gender-bending coming-of-age drama set in Ireland centers on the friendship between bookish, outcast Irish lad Chris and the new kid in town, Joe, an all-American boy. Whereas Chris is wimpy and bullied by the village toughs, Joe is strong, clever and the best fighter around. When Joe befriends Chris, it looks as if things will be improving. At it least it does until Chris finds out that Joe is actually Joanne. Orphaned by her parents, former tightrope walkers, she has been living with her cruel, woman-hating Uncle Curt, an embittered ex-acrobat who make her pose as a male. Joe's main female influence comes from Chris' mother a feminist sculptor of Rubenesque goddess statues. Unfortunately, Uncle Curt doesn't want her associating with her. Poor Joe also finds some solace helping Simon, her parents former coach who became a depressive clown after their fatal accident. ~ Sandra Brennan, All Movie Guide

The longest-running show in the history of the American theater (it opened at an off-Broadway theater in the spring of 1960, where it remained until the production finally closed in early 2002) finally arrives onscreen. Hucklebee (Brad Sullivan) and Bellamy (Joel Grey) are a pair of small town fathers who are scheming to bring their children Matt (Joseph McIntyre) and Luisa (Jean Louisa Kelly) together in a romance. As a carnival arrives to bring some excitement to the sleepy village, the fathers persuade a mysterious interloper named El Gallo (Jonathan Morris) to stage a mock abduction of Luisa, which will hopefully prompt Matt to come to her rescue. However, while El Gallo's plan succeeds, he also awakens his innocent charges to the darker and more disappointing side of love. The Fantasticks was shot and edited in 1995, but beyond a few preview screenings, it went unreleased until the fall of 2000. The film marked the dramatic debut of former New Kids on the Block vocalist Joseph McIntyre, and features Teller (of the magic/performance art duo Penn & Teller) in a rare speaking role. ~ Mark Deming, All Movie Guide

Filled with plenty of fisticuffs and karate, this actioner follows a tough New Orleans police officer on his personal quest to solve a series cop killings. The cop hires a mercenary biker to help with his private investigation. Their research reveals that the culprit is the town's biggest drug lord and his reason for the killings is revenge for the death of his henchmen. Things get more complex when the good guys realize that the drug lord has made a mistake. The cops aren't killing his thugs, but someone else certainly is. ~ Sandra Brennan, All Movie Guide

Robert Altman takes a scalpel to Hollywood ethics in the 1990s (or the lack thereof) in his acidic satire The Player, adapted from Michael Tolkin's novel. (Tolkin also wrote the screenplay.) The film concerns a sleek and smooth Hollywood studio executive who starts receiving death threats from a disgruntled writer because he has committed the ultimate Hollywood sin -- he promised the writer he would call him back and he never did. This is particularly ironic because the studio executive, Griffin Mill (Tim Robbins), is considered "writer-friendly," spending his days listening to pitches from such noted screenwriters as Buck Henry, who is pushing "The Graduate, Part II" and Alan Rudolph, who is hawking a Bruce Willis action film described as "Ghost meets The Manchurian Candidate." But The Player finds Griffin's comfortable life style in danger of collapse. He is trying to find a way to unload his girlfriend (Cynthia Stevenson) whose independence and intelligence make her a poor candidate for a trophy wife. More importantly, it seems that Larry Levy (Peter Gallagher), a slippery executive from Twentieth Century Fox, is angling for his job. And then there are those nasty postcards and faxes from a screenwriter threatening to kill him. Altman cast over 65 stars in cameo roles as texture for his scabrous tale. ~ Paul Brenner, All Movie Guide

With Marilyn Monroe permanently unavailable for comment, everybody and his uncle has come out of the woodwork since 1962 claiming an intimate relationship with the legendary film star (how did she ever find the time to be a film star?) Marilyn and Me is based on the reminiscences of one Robert Slatzer, who claimed to have been secretly married to Monroe back in her Norma Jean days. Jesse Dobson manages to keep a straight face as he recites his lines as Slatzer, while Susan Griffiths is as good a Monroe impersonator as any. Better still is Joel Grey as Marilyn's first and most influential agent Johnny Hyde, whose own close relationship with La Monroe is a bit easier to believe. Actress Terry Moore, who in the early 1950s was briefly groomed as a Monroe "substitute," plays a bit as Johnny Hyde's widow. Marilyn and Me is about as convincing as the Bugs Bunny cartoon What's Opera, Doc?, and not nearly as entertaining. ~ Hal Erickson, All Movie Guide

The two-part TV movie Queenie was adapted from the roman a clef by Michael Korda. This is the story of Queenie Kelly,an English girl (Mia Sara) from the slums of Calcutta who is kept from full knowledge of her Indian heritage by her protective mother (Jean Simmons). As a means of bettering herself, Queenie moves to London, where she works as an exotic dancer. Later on, Queenie, using an assumed name, becomes a famous movie star and marries a powerful producer. At the point, we should observe that "Queenie" was the nickname of Michael Korda's aunt: actress Merle Oberon, who was married to British film mogul Alexander Korda. Any resemblance to actual persons living or dead is purely...well, you know. And any resemblance between awkward newcomer Mia Sara and the ultra-sophisticated Merle Oberon is...well, accidental. Queenie originally aired May 10 and 11, 1987. ~ Hal Erickson, All Movie Guide