Terrific. By far the best-written sketch of the night, and well-executed, too (I'm impressed with the '70s-esque film stock).

I would stay up until 2:30 watching that— the episodes in full were often revelatory. (In that episodes from 1986-1987 had ZERO filler; and that episodes from 1980-1981 had 90 minutes with NO content).

It's right there, in the emanations and penumbras…

The timing of this is heartbreaking and shocking.  "No, he's not dead. He just said he's taking time off…"

Oh, that's one of the all-time great DVD commentaries. He has such a wealth of knowledge about every shot.

In the extemporaneous world of podcasts, PFT is god.  Nobody has a quicker wit, a more likeable way of steering conversations, and a knack for saying the perfectly funny thing at any time.

It wasn't a case of a too-complicated plot: it was a case of every character being a bland cipher (with no discernable emotional life), and a lack of competence in cinematic construction: most scenes were difficult to parse owing mainly to a lack of  care and visual imagination.

Chubby Checker is going to sue the hell out of you.

I don't mind what they were going for, but the illustrator completely failed to deliver the craft of an average pulp cover.

It was on the 2nd Anniversary Show (one of the very best episodes they've done), and yes, the dueling-Huells segment made it on Best of 2011.

It contains everything an amateur surgery should contain. Namely, the removal of a man's entire rib cage.

I've only seen bits and pieces of Fallon's Late Night, but…

Maybe not in temperament, no. But I think she's a much more visual director than Forsyth, at least. The propensity for lyrical images, often uncoupled from the storytelling instinct, reminds me more of Malick than anybody else of her generation. (With the exception of David Gordon Green, back before he turned into Tom…

This news really bums me out— I LOVED Ramsay's first two movies (Ratcatcher, Morvern Callar), and thought her last one (We Need to Talk About Kevin) was nearly as good.

Co-sign on "Farewell Transmission." Everybody, give that song a spin.

@avclub-4ffabf87500b89362ca0abc12daf720b:disqus , that's true, and that's part of what's made P&R great. But you're describing turnover that's happened more than three years ago. Since then, it's fairly stagnated.

It would at least be nice to be introduced to new characters, and have older characters depart, in a way that's more akin to real life. (A stagnating cast, coupled with slowly exaggerating character traits, can really make a sitcom feel limited, and infinitely predictable. It's the main thing that's killed The Office.…

Also not discussed: The third episode of Analyze Phish, where Harris Wittels recounts the time he went to a Cowboy Mouth concert and received a one-minute handjob from a random woman, all the while making eye contact with the lead singer.

They were the market leader up through the 1920s, until this upstart named "Coca-Cola" took over.

Moxie is the goddamned best. Imagine a Dr Pepperish soda, doused with Angostura Bitters. That's pretty much it, and it's amazing.