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Sean C.
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Santana remains pretty awesome.  The show counteracts this by having her not be in about half the episodes, and having a couple of her appearances be brief cameos.

A lot of those characters are part of what Geoff Johns is doing with the character over in JLA, and it seems like Azzarello wants this run to stand alone without intrusion from outside story considerations.

It also happened in the same episode as everybody telling Rachel she shouldn't be topless for a role she wanted to act in because it would be like doing porn (Kurt specifically called her a "slutty Barbie").  So underage boys posing for sexy calendar = awesome, saving the club, a woman of legal age taking her shirt

Comics are one of the best barometers of changing cultural attitudes to authority.  You've got all these Golden/Silver Age characters whose mythologies contain benevolent authority figures, and the overwhelming tendency these days is to make them assholes, counterproductive, or outright evil (see also:  the Guardians

The Amazons now rape and kill passing sailors in order to have children.

I could definitely see her as Hera.  Hippolyta's supposed to still be a tough warrior queen.

This is one of those runs where most of what Azzarello is doing is terrific (even revising Diana's clay origin, which arguably does lay the ground for more interesting conflict), but what he's done to the Amazons is such a  colossal undercutting of the premise of the character and everything the Amazons were meant to

I really can't seen Christina Hendricks as Wonder Woman at all.

I tend to view Fringe's final two years as an example of how really ambitious storytelling doesn't always totally work.

The use of "In the Air Tonight" worked both just as a straight use of the song and also because that's associated with one of the great moments in 80s TV (though one that won't actually happen in-universe for a few more years).

A classic Glee moment there.  The show attempts a PSA, but:

Since people have talked about the Red Wedding, I'll mention the Tyrion/Sansa wedding, a reception which lacked the climactic murder, but was filled with characters the writers actually care about (whereas Robb and poor Catelyn's scenes this year were suffused with the feeling that the writers were constantly checking

Then they basically forgot about Ben, and that became a meta gag in and of itself.

The trailer for RIPD plays like a cheap knockoff of Men in Black that for some reason got delayed 15 years.

People weren't paying attention to it.  That's the reason, as is usually the case when acclaimed things don't get nominated.

I doubt the mode of distribution determines it.  But cable has altered what he think of as the requirements for a great TV drama, in a lot of ways, and it's altered them in ways that squeeze out broadcast.  Episodic drama's dead and buried, as far as prestige TV is concerned.

True, but likely as not more buzzy cable/Netflix shows will emerge to take their place.  The Americans could start to catch on, for instance.  Broadcast TV has been slowly fading as an awards force, particularly in drama, starting with The Sopranos.  It still won a few, but the trend is against it.

@avclub-e14267dedd4e1d0cc0093bc13643fd59:disqus , she had no plot to speak of, and two token scenes in episodes 2 and 3, then vanished for the next five episodes, then had her big moment in episode 9.  There was no buzz around her, and nobody was talking about Catelyn at all.

Things can always change, but I'd venture to say that Best Drama has quite possibly seen its last broadcast TV winner.  Two years straight we've had no such shows even nominated, and while future nominees are possible, cable (and now Netflix) are relentlessly squeezing broadcast out of even the

Honestly, I would place most of the show's female cast ahead of her in talent and deserts (Dormer, Turner, Williams, Headey, Christie, especially — Fairley was great in her one significant scene, but that's not enough for a nomination).