I'm about as nerdy as they come - science fiction, comics, computer games, musical theatre… and there's very little if anything in TBBT that causes me offence.

> It reminded me of Xander in Buffy,

> "What does it means to be a "civilian" in a world filled with superheroes, gods and monsters?" That's so rarely discussed in comics (Gotham Central and Astro City being rare examples)

> I watched this […] and I think I'm done with TV for a while.

So it's not Community?

Good pickup. I just rewatched that bit and while I think there's enough ambiguity in the way it was shot to make it appear that it was just him falling backward to avoid the door, it could also be a clue.

True, but how many would require the method to be kept from Coulson?

> Anybody in the cast over thirty was great. Everybody under thirty ugh.

If he was just healed by the Odinforce, why would they keep that a secret from him?

A little indie flick called Avengers 2.

Walt becomes a lumberjack.

I'm very fond of "The Maternal Capacitance" (season 2, episode 15). It's a great example of how one character being almost unbearably cruel to another can produce big laughs. It showcases the comedic mastery of Christine Baranski. And it explains - without ever stating it explicitly - exactly why Leonard is able to…

It's also a weird statement to make when describing The Big Bang Theory. Isn't the undisputed breakout star the epitome of a smug and confident character?

There were also plenty of jokes at Penny's expense - at her (comparative) lack of intelligence and her lack of talent and success in her career. Given that there were four times as many nerds in the show than the single non-nerd it's not surprising that there are many more nerd jokes.

So people familiar with the Marvelverse are clearly meant to believe that Coulson is a Life Model Decoy. Will this be the reveal behind the "Tahiti" business, or will there be a twist on the twist?

> But it’s still a sterling example of how an adaptation can break free from its source material and create something equally enduring, simply by considering the needs of new actors and a new medium.

> has been altered and worked on so heavily both musically and lyrically before emerging in the West End.

I loved Jackman in Les Miz - it's the best acting he's ever done in my opinion and I was rooting for him to get the Oscar. But vocally he'd never be able to do the role on stage, unless they transposed the songs down even further than they did in the film. (Interestingly, Valjean was originally written as a baritone,…

You'd never see both their heads in the same frame though.

Modern audiences are savvy - they know to expect a reversal. The question is, will the producers, being aware of this, try to outsavvy the savvy?