I really want to see how he plays post-merge. He's supposedly a Survivor Jury expert, right? I bet he knows exactly how to manage one.

Here's my question: do obvious recruits (like everyone in the Cool Kids' Club) even care about winning the million dollars? Or do they all think they'll become millionaires anyway from appearing on the show? What's the show-biz strategy there?

Just as an example, I subscribe to r/breakingbad over there and the discussions are nothing but vapid and obvious. Nothing really beats this comment section's discussions.

This reminds me of the 1970s Comedy Store controversy, as chronicled in the excellent book I'm Dying Up Here. As an amateur performer myself, I can't imagine not being grateful just for the stage time at UCB.

@avclub-e2df4bb33036a7d2a5e327091575cf2f:disqus Can you count UCB classes as an education expense on your taxes?

Gentlemen, as of this moment, I am that second mouse.

Agreed on Season 5, @avclub-ef062084a1c4a3584af1d4f8e514ea50:disqus and @avclub-cd3d804747cf4c11f495534083caf222:disqus ! I had a discussion the other day where I had to ARGUE that the [main plot device] was the coolest thing Lost ever did. I shouldn't need to. That ruled.

Wait, so Hannah took a freelancing gig that pays $200, but she can afford to buy coke for research? And how many people are able to just kick roommates out all the time? That's not how life works.

"Stop TAKING PEOPLE!"

I didn't even realize that was Pete! I thought it was some new bloated British character we haven't met.

When I was a girl, I always dreamed of being in a Broadway audience.

Long before the Superdome
Where the Saints of football play
Lived a city that the DAMNED call home!
Hear their hellish roundelayyy

I actually think Luhrmann's is a fairly neat adaptation, or at least I like its choices a lot. For instance, he makes his characters Catholic and has everyone committing sins everywhere — Capulet a drunk, Lady Capulet an adultress, Mercutio a scary gay — except Romeo and Juliet, who only meet after Romeo has…

I actually think Luhrmann's is a fairly neat adaptation, or at least I like its choices a lot. For instance, he makes his characters Catholic and has everyone committing sins everywhere — Capulet a drunk, Lady Capulet an adultress, Mercutio a scary gay — except Romeo and Juliet, who only meet after Romeo has…

@avclub-5d803e10d0c0ec0c17388cf122fafb47:disqus Wait, how exactly is firing people who made mistakes evidence of a cover-up?

@avclub-5d803e10d0c0ec0c17388cf122fafb47:disqus Wait, how exactly is firing people who made mistakes evidence of a cover-up?

I remember when Penner confronted Lisa about it, he mentioned that "They're too young" to have recognized her. Figures that all the older folks had it pegged pretty early on.

I remember when Penner confronted Lisa about it, he mentioned that "They're too young" to have recognized her. Figures that all the older folks had it pegged pretty early on.

That was the EW interview, yeah? Malcolm seemed pretty level-headed and admitted his fatal mistake in the end. Skupin's interview, though, was completely delusional.

That was the EW interview, yeah? Malcolm seemed pretty level-headed and admitted his fatal mistake in the end. Skupin's interview, though, was completely delusional.