This, and Garland Briggs's description of his dream (and Bobby's reaction) are the two best scenes from the entire franchise.

With the Quagmire parents dead, the end of the first season could be the first step in hamstringing the other volunteers and showing that even their best efforts aren't enough in this world.

I meant that mostly as a "they know each other particularly well", like in the sense that they had more than a passing acquaintance with each other. It's on an emotional level. I dunno, it seemed like one of those nasty barbs with a few layers that make their greatest impact on someone you've got history with.

Maybe she'd make a stellar Shirley St. Ives? They did change the ending of WW so that the kids ran away and took refuge at Lucky Smells, so obviously the writers are trying to tighten everything up a bit. I prefer that; it makes more sense than having Poe send them to a work house.

Fucking Disqus deleted my first attempt at this. If I'm right, the writers are playing this very subtle. There are a few instances where you could read into their interactions as begrudgingly flirtatious/bitter, the way you'd act around an old flame you've never quite gotten over. And Handler said there were certain…

In the Unauthorized Autobiography, there's a photograph with a bunch of sailors in a class picture type set up, and one of them is named Sciezka.

Gustav and Jacquelyn aren't siblings. I can't figure out why Zack keeps insisting that they're related.

The holo-Pearl fusion was particularly great.

ALWAYS.

I think I rewound to the bangfest line about 15 times, and it's still not old.

Was there something weird going on with Matthew? I felt like his turtleneck was covering up hickeys or something.

Fascinating how the parallels between Nina's story and Martha's are just a couple steps off from each other; it would be a more obvious storytelling device if they had both fully come into their own skills as improvisers and liars at the same time.

Bill has a MOUTH and TEETH in the photographs that get thrown down in the opening credits!

It's tricky to root for his character given that we know where history is going, and given that Bill and Gini have had a much longer chunk of the narrative in which to build their passion for the work and for each other. Caplan has said in multiple interviews that their goal this season was to depict a "genuine love…

Apart from the ridiculous crap with Libby and Paul, I actually really liked this episode. The end was interesting, with Bill trying to call… someone. Are we so sure that it would be Gini, given that Tessa was home having sex on her mother's bed at the time?

They weren't there for the full weekend, no. I was a bit confused about how Gini knew that Bill would show up on her doorstep before it was time for her to come back to work, but chalked it up to her assuming that he'd give her 48 hours alone to ensure the "infection time" had passed.

Nah, you're not alone—I liked this one for introducing Gini to the idea that Dan is conveniently Not Bill, but also, he's kind of bad for her in his own unique way. It's not only because he tries to fit her into the role of being a pampered woman on his dime, but also that he's gotten attached to her. What I took away…

Tonight's episode was much, much better than last week's.

He has had some very funny and charming moments this season—Bill is definitely growing and changing as a person, becoming more open and making attempts at expressing himself.

Oh, absolutely—but it also works as an obvious metaphor for how empty Bill's domestic life is and how far he'll have fallen in the eyes of anyone who matters without knowing it by the end of the season.