Woody's gleeful "She's magic!" was a high point for the character and the show.

I can see that, but it kinda redeemed itself for me with the (admittedly obvious) punchline.  Woman gives lengthy, tear-filled monologue about her struggle with sex addiction and the depths to which she'd debase herself, and then when it's all over and everyone is crying and applauding her bravery, Sam, pretending to…

Yeah, Maggie's awesome.  SO funny!  Did she and Derek get back together?  OMG, I have to check FB.

My wife:  "Not much has happened in this episode."

It is an awkward point to make without sounding extremely creepy, but, yeah — this girl doesn't look like she'd be the mousy put-upon one.  And while CGM is undoubtedly an awesome casting choice for "girl goes nuts and kills everyone," I think the filmmakers forgot that the first 80% of the movie is "awkward quiet…

Eleven months later I jump in to say "Eowyn!"  This is straight fantasy, after all, so LOTR makes more sense than SW as a reference.

On the quick X-Files aside:  Agreed!  I remember watching the show when I was in grad school, and one of my friends used to complain that Scully was the world's worst scientist.  A scientist is supposed to test hypotheses based on observation — Scully simply dogmatically insists that there can't be aliens even when…

See?  Now the movie knew how to do it!  You'd like an episode making reference to the movie or the game would have recognized the importance of including this aspect of it.  It really bugged me that they completely dispensed with it.

I was disappointed. My wife and her brothers LOVE Twin Peaks, and were really excited about that episode.  It was awesome for them.  I wouldn't exactly say I love the Clue movie, but I watched it a ton when I was a kid, and the board game was my favorite.  I love Agatha Christie, I love Sleuth, I love Murder By Death,…

"G.L.O.W. was about a whole lot more than wrestling or even sports: It was about politics, race, sex, gender, and power, and about who controls narratives about women’s bodies and desires."

Here's the one thing that bugs me most about Fisher King. They do a phenomenal job of making Bridges' life with Mercedes look dirty and unpleasant, a real sign of how far he's fallen.  He's a complete wreck.  Tragic.  And then his redemption somehow involves, just, embracing it?  I mean, sure, it's clear his…

I think the Hook comparison is EXTREMELY apt.  As much as this might have been neat, I'm glad it never happened.  It feels like when filmmakers get a chance to make the ONE movie they've ALWAYS wanted to make that fits their sensibility PERFECTLY, it's a bland disaster.  Some people loved Gangs of New York, I thought…

Ohai, Rob Morrow's accent.  Thanks for killing THAT movie career quickly and painlessly!

For a split second, I thought the ShamWow guy was one of the voice actors in the Croods.

Did you get the Gilbert and Sullivan reference in her album title?

BOSTON!

There's also the Louis episode where he dreams of his two daughters as adults — they meet up for lunch and their conversation works around his speculation.  "We're in our early twenties, and I'm probably an artist, or something."  "Yeah."

Wow, I have to say I really disagree with this write-up.  Yes, this is a brilliant episode, one of the best.  But I don't agree about the "why" at all.  The talk of the "preposterous premise" and the "subplot" with Brockman all miss the point, IMHO.

Seriously!  I was surprised that the main article didn't mention it.  I would like to think that Twin Peaks gets a pass since it's dream was so over-the-top in "oooh, this is weird!" that it is maybe self-aware about this stuff.  But, sadly, I suspect that isn't the case.

It's strange — I was annoyed, in principle, that NBC promoted this episode (relentlessly, all night) as "Packer's back!  Whoo boy!  Remember Packer?" and conveniently failed to mention that, yeah, this is that one where we had to figure out what to do with our backdoor "Farm" pilot.