True, but that was how things were.  I mean, I tried rewatching stuff like St. Elsewhere and Hill Street Blues, and the pacing just felt dire. 

Yeah, he mentioned at the time that he was midway through the script when something came up that pulled him away from writing, and when he got back to writing the script, he had lost sense of where he was going with it. 

There might also be heavy export fees, regardless of weight.  Especially for fresh food stuffs, which might also be rarer luxury on Earth.

You forgot the steamy Minbari potboiler "When Two Have Become Close"

I get where you're coming from.  I'm not quite as down on Singer as you, but I do get the sense that his knowledge of Superman begins and ends with the Donner movies.

The core of my problem with Superman Returns, even though I don't hate it, is how I compare it to Batman Begins.  The central premise behind Batman Begins is that the Schumacher movies had turned the audience sour, and therefore the movie had to start fresh and earn the audience back.  Superman Returns had the premise…

I think you're spot on that the role Zhaan fulfilled in the first season really isn't one that needs to be fulfilled in the second one: she's the one who recognized that Crichton mostly lacked information rather than intelligence.  Everyone else, to varying degrees, treated him like an idiot.  By this point, Crichton…

No, I think what @avclub-146bc30c345d31f3468fec764a1970e1:disqus means is that Kosh may well have been the actual G'Lan of Narn legend.  Which doesn't make what he does less manipulative and creepy.

The "pay-rent-or-be-evicted" was low.  And out of character.  I really didn't understand how Sheridan et al allowed that to happen.

I think the thing is, on today's television you could tell the story B5 was telling, in a much cleaner and more streamlined way, with 13-episode seasons and less need for standalone storytelling.  Plus the effects could be done easier and cleaner. 

I'm fairly sure this is the only direct interaction between G'Kar and Kosh.  I kind of love that it's both A. the straightest straight talk G'Kar has ever received and B. a mind-fucking of the highest order.  The man is never the same, and pretty much because Kosh poked him in the brain and said, "WRONG! BE BETTER!"

Adm. Necheyev always struck me as a get-shit-done type.  She made choices that made people unhappy— the Cardassian treaty for example— but she didn't care.  Stuff got done under her watch.

@avclub-0ae7484a9f3bbd2a21df420050c032ae:disqus But on the other hand, they did Andorians and Tellerites, species that, for some odd reason, TNG/DS9/VOY never touched.  Got to give them some credit for that.

Reeves did fantastic work with differentiating Clark, Superman and the real man behind both facades.  Unfortunately, "bumbling Clark" is an interpretation I don't care for, so on some level it just doesn't work for me.

I'm pretty sure that they were made on acid, so it's only fair.

There was one other little hint: General Swanwick's aide-de-camp was Carol Ferris.  Which is a really freaking random easter egg, but there you go.

Oh, that scene was fantastic.  Because it didn't even come off like Nate was sexually frustrated or was especially worked up— it was an almost soulless act of endorphin maintenance just to manage a smile as he walked in the door.

I think that Planet Terror and Death Proof are excellent examples, respectively, of the difference between ironically and unironically loving something.

Please, Crichton is genre savvy.  He knows alien names have apostrophes and double x's.

Well, the question is wholly theological: if the stain of sin is on the soul, and can only be removed with confession… how does Death of Personality reflect the soul of Brother Edward?  Is his soul that of the good, decent monk who strives to do good works and make terrible tiny sculptures?  Or is it the Black Rose…