That one exchange made me briefly wish that, despite all the reasons it should be the way it is, Jamie could have been the one trapped on the ship. Just imagine all the unnecessarily verbose back-and-forth!

She feels kinda like how I felt about Peridot after her second appearance in Marble Madness - someone who's maybe not actively engaged in the task of world-ending, but is just *brutally* petty and wrapped-up in the bureaucracy of their evil empire. You know, "why do you keep destroying my things", that sort of stuff.
Ex…

The Ultimate Mom! Of course!

I mean, if you know where to look you could kick that wait another week down the line and watch the next episode right now.
If you're (understandably) not inclined to do that then at least let me ease your pain by saying it's paying off really well so far.

Luckily it seems like he'll have a pretty significant block of coming episodes to do that digging.

As sensible (from a variety of perspectives) as it kinda is to focus on John Constantine, I was sort of hoping that Zatanna would be the central character of this movie. Firstly because she could theoretically serve just as well as an audience surrogate while leaving room for Constantine stuff - ie, her father Zatara…

Ironically it's a franchise derived primarily from ideas begun in Alan Moore's vibrant (if spooky) "Swamp Thing" run, so it might actually end up being brighter, for a certain druggy, environmentalist standard of "bright".

Though as long as I'm here and apparently Know Lots about musical theater, here's something for comparison:
https://youtu.be/1jqgs2Ras5M

With LCD Soundsystem as the headliner, of course.

No, I think they're very much doing the same thing! This one just did it better.

I thought the same thing about the Frazier sketch, and was kinda expecting to be disappointed, but I really appreciate that in deciding to return to an idea the SNL team actually improved on it. The rooting of the sketch in character details for Pine and Strong, who are obviously sort of weird theater people and have…

I'm considerably more perturbed by your perception of this fairly innocuous, entry-level, Baby's-First-Social-Justice example of criticism as clear evidence of "why Trump won".
Like, how bad must it be for you when people actually make a *cogent* argument against things you don't like?

Basically my stance.

Well I presume that any WWE Studios production will also have its fair share of Coen Brothers references.

I've been disappointed with the ad campaign's focus on Young Sexy Jack The Ripper over Young Sexy H.G. Wells. I mean, the guy was a leading light in the world of genre fiction! Isn't the boy-toy version of that more of a draw than the boy-toy version of the man who carved a streak of terror over Victorian London?

I mean, firstly it's hardly mandatory (or even all that frequent) that there be sexual tension among the main cast of DW; and secondly the show's current less-than-dazzling ratings situation likely means that whatever societal pressure exists for a female Doctor this go-round is unfortunately probably being…

Sorry, none of the rest of us have seen Surf's Up II.

To be fair, based on my knowledge of WWE Studios the phrase "…and it only stars wrestlers" can explain virtually anything that precedes it.

It's not really altered, it's just that there's a flanging effect when the two copies of the drum fill are in very close alignment.

Chief among Mamoru Samuragochi's many "works" is this classic of terrible video game music:
https://www.youtube.com/wat…
…which now seems even worse knowing it's someone's approximation of how a deaf person would compose.