avclub-03201ae30e1239054512737f608b91cf--disqus
AlexS
avclub-03201ae30e1239054512737f608b91cf--disqus

Don't you know?
If you don't see the body, she's not dead. I thought the way they handled Daphne's death was clumsy before, but assumed it was because this show is generally incompetent (tonight's off-screen flying was great. Took me back to the old Superman series). Instead, it's because she's not dead, which makes

Re: Levar

Why stop with Catcher
when you can read it, 9 Stories, Franny & Zooey and Raise High the Roofbeams/Seymour in two weeks (or one, if you're a high school graduate wasting away the summer before college starts). Salinger changed the way I looked at literature (and the world) twice, once in high school when I first read

Response
I enjoyed Violet a great deal. It was extremely funny, both in the dialogue and the scenario, but also had a lot of pathos. I found the solution to the various obstacles particularly clever, both as puzzles and as representative of the give and take of a relationship.

Among my friends we call it
"the boner zone."

House
I caught an old (season 2) ep of House the other day and it reminded me of how depressed the title character used to be. He always seemed to be suffering under some kind of abject misery. Not that he isn't now, necessarily, but he /appears/ less miserable these days. These last two seasons have seemed to show

I think I want this show to be something it isn't.
Namely good. But all joking aside, I couldn't help but wonder when watching this ep why everything has to be global and epic. Why is the scope of the plot/threats epic when the writers seem to want to explore personal stories. It seems to me that part of the reason

Makes me wish I still lived in Chicago.