"Mickey, having lucked out with the riches, is trying to make due with
the children, all of whom are somewhat stereotypical rich kids, and not
like those in The O.C. or Veronica Mars."

This makes a lot more sense to me than Haunter's explanation (which just doesn't scan from what's presented), but I'd buy it a lot easier if they'd shown more layers to both the transition to accepting friendship and navigating the friendship itself, rather than the unblinking 180 that we've been shown. And really,…

This is getting at what bothers me about Valencia's turnabout: she's someone who'd bear a grudge, as well as someone who cares more about being respected than liked (making it difficult to forgive or accept apologies). I find it hard to believe there isn't more anger inside her towards Rebecca than can be dispelled…

The whole thing sounds like autotuned Shaggs.

Late to reply, but thank you - that's some good leads to chase.

If you don't mind saying, what would you say were the top five soul/funk albums of the last few years?

This gaslighting attempt gets a B-.

I think the shift is from being so firmly inside Rebecca's neuroses and delusions throughout the first season, which created a powerful sense of investment, and even danger, to a more ensemble oriented show focusing on the complications of group dynamics. Greg served a big purpose as not just the complicating factor…

I'd watch the Adventures of Mouse and Broom.

I'd say the statute of limitations has run out for "Trapped" parodies to come out of the closet - it has been (gulp!) over a decade since it first came out.

The first episode did an excellent job of making a lot of people look good, whether smart, charming, sympathetic, or some combination of the three. The second episode did a similarly great job of detonating all of that.

Every time I see the Seattle skyline in a transition shot, I always think, "Okay, when are X and Evie gonna have dinner at that hip new Meat Cute place everyone's talking about?"

Don't waste that goose fat! Put that shit in a tupperware and freeze it, take out some to make sauces, marinades, basting, frying, you name it - that stuff's basically liquid gold.

I sincerely hope this comment is a joke.

At the root of this is that the hype managed to create an actual community, one who's connective tissue was, for lack of a better term, faith. Faith in something that promised infinite potential. But then the Rapture ended up being a big ol' Meh, and now that existing community crescendos within its echo-chamber…

Even their respective ferocities are fundamentally different. Nina's was imperious, ironic, and acidic; Leslie's is brassy, loud, and forward. Plus, Leslie's comedy always has an overt or covert element of self-deprecation, the knowledge that she's kinda nuts, while Nina always presented herself as the only sane…

I'm really liking this season so far, and I'm a generous SNL watcher in general - but man, I really don't think I'll watch the next episode. As much as I think Wiig is a very talented performer and writer, she's emblematic to me of much of the worst aspects of sketch comedy in general and SNL's tics in particular,…

I must add: Donna Lynn Champlin delivered one of those moments that I live for, as a viewer - a whole complex brew of thoughts and emotions expressed in a single, small instant. It's when Rebecca comes to her, openly and with nothing but concern, and offers her friendship directly to Paula's needs. It's then that…

It took at least two or three hours of work today to erase "makey makey makey makey makey MAKE-over" out of my head.

I'm sure part of that decision was the discovery that Vella Lovell murders every single line she gets.