I think the intended irony was that Dwight found success in not treating his subordinates like subordinates (best man, best friend, son's Godfather, etc.). He's wound up pursuing personal relationships just as much as Michael ever did.

Side note: This show ends with a montage of everyone violently throwing up recalling the meals they had at Hannibal's, right?

@avclub-c239ddf0bc583f755f9e086d533f6f4e:disqus I was responding to the comment, "I don't really understand why people waste their time watching stuff they don't like. I guess I value my time differently." Because I find that sentiment obnoxiously condescending. It had nothing to do…

Some really wonderful moments, and I have to say everything ended as fittingly as possible. Greg Daniels knows these characters and he knows resolution. Ironically, this is probably the most problematic aspect of it: Too many endings to this ending. You had the the wedding, the panel, the warehouse party, the office.…

Now that all's said and done, I'd love to see someone take a stab at piecing together a Creed Bratton bio. And at what point did "Creed Bratton" assume Creed Bratton's identity, pre or post Grass Roots? Sure he can play a song, but any respectable con man would put the work in.

@avclub-e5b4fef159d90a480b1961cef89a17b7:disqus Because sometimes it's intellectually satisfying to engage critically with something you, on the whole, have complicated feelings about. Frankly, these "why do you watch" comments are so much more tedious than even the most repetitive slams they respond to.

"What's Reba's process like for getting into character?"

@avclub-d24b5b45c12c52ba7ad088c4663cd5c8:disqus  Damn son, how those McNutts taste? Bitter and salty, I bet.

A character stubbornly sticking by a decision they immediately regret because of another character calling them on their bullshit, then inventing convoluted reasons to back out, only to have it blow up in the worst possible way is basically the plot of 95% of all sit coms.

@avclub-5fd14fc7a83b79e976652d8c4abecc78:disqus I'd love to think so, but it seems unlikely. The predictable course is for Schmidt to stay with Elizabeth for at least part of the season, while Cece pines for him to cosmically balance out the will they/won't they tedium.

@Scrawler2:disqus Oh absolutely, it'd be unrealistic for him to feel any other way, I'd just take exception to someone calling it moral opposition.

Huh, I thought we've all be rooting for Schmidt and Nadja this whole time. But then I've always been out of step with the shippers.

"Why do you need me for this?!"

@wolfmansRazor:disqus Really depends what your view of a moral opposition to war is, because his only rationale is whether it's "winnable." He has no concern for say, the legitimacy of interventionism or all the deaths incurred on the other side. Sadly this is closest you'll get to moral opposition to war in D.C.…

@avclub-41e23e24ee2670c4128cd7e5e5ee42ab:disqus Similarly, I believe there's a fetishization of the physical media that actually cheapens the appreciation of the content. I'm thinking of obsessive record collectors who like chasing obscurity for the sake of obscurity and showing off their encyclopedic knowledge in a…

It's also one of the few jokes that isn't a callback, which is probably just Netflix wanted to assure everyone of the fan service. I'm choosing to remain hopeful that the new season creates more tropes and less retreading all the old ones.

You and me both, buddy. But rejoice, it's confirmed:

@avclub-0c4eda39c04c2b0566526710ddfa7dad:disqus "I don't know that it's the loss of mystery that made her end things"

I love the deadpan ambiguity of her line-readings. Felt very much like a Kaurismaki character except not destitute and soul-crushingly depressing.

They did let him grab a tit, and it seemed like Foley could use the win.