I've only gone through the season once, and am trying desperately to keep to a weekly schedule instead of forging ahead. I remember not liking season 2 so much… I couldn't get my head around the connections between the characters' real lives and the play in question as much as I did in season 1. The 'witch' especially…

"The Emperor's New Cloak" comes to mind…

I prefer to think that the cast and crew kept on waylaying him so he couldn't get back in time. Because to look at it as the logic error it almost certainly is makes me sad.

Yong's is a real place somewhere in Ontario… a friend of my sister's found it once, yellow sign and all.

From the second episode it was clear he's a ghost, because we see his corpse's eyes open when the Mortimers wheel him out of the morgue. We also hear him say "Oh, no." IMO, there was never any doubt about Oliver's nature.

Another phenomenal thing about S&A is how it manages to juxtapose sad, serious and tear-jerking moments with side-splitting hilarious ones, and it doesn't undermine the serious stuff in the least. Ellen's suicide attempt manages to be heartfelt, absolutely sincere and uproarious at the same time; her performance…

That storyline works because of how well-written Richard is as a weak-willed, impressionable man. Put any character with a sterner constitution in there, and it falls apart, but Richard being who he is gives it all the credibility it needs.

And just 'cuz something's American doesn't mean it's Honey Boo-
Boo.

Interesting. I could simply be projecting my own beliefs onto the show, but I think the answer to your question lies in what Todd mentioned, the ephemeral nature of theatre. I think it was the second episode that showed a flashback to Geoffrey, Ellen and Oliver celebrating the first performance of Hamlet way back…

Ah, Todd, thank you for Stray Observationing about Sloan and his souvenir. Probably my favorite gag in the ep.

Have you ever seen Shatner's "The Captains"? These days, Avery Brooks communicates mostly through song and improv poetry. His badass days seem to be a thing of the past…

I think we saw O'Brian with a bottle of pills in his hand at the end, and he talked with Bashir about how he was getting regular therapy. Remember, DS9 was around for the great TV transition from episodic to serialized… there was only so much it could do, really. It was taking the first baby steps of long-form…

Well then, GLaDOS lied to one of us…

Yes, but from the Klingon sensibility, that still makes sense. Worf has to represent Starfleet, and in failing to do so, he undermines Starfleet's credibility in living up to its own standards. The Klingons can hold out on future negotiations by claiming that Starfleet can't be trusted if Worf is proven guilty. The…

"In The Pale Moonlight" is beyond phenomenal, but people on these boards seem to be forgetting "The Siege of AR-558". Easily my favourite.

Starfleet rules and regs: Always identify your target before firing. Full stop.

I think you nailed it. Part of what makes S&A great is how it acknowledges up front how fleeting the 'truth' of art is, and how difficult it is to achieve even once, let alone replicate. You need to produce *something* at every stage in order to make a living, and you strive for art, but sometimes it just doesn't…

He was trying to. Everything he does since Holly came into his life is designed to mess with Hamlet.

Anyone else get the idea that Holly is a character who is from a different show entirely? She's just so mustache-twirlingly evil. I'd have liked her (and believed her) so much more if she wanted to remake the New Burbage Festival out of a passion for musical theatre rather than just money and because she likes to…

"Geoffrey Tennant?"
"Yeah?"
*punch