I feel like that's why Ann seems to have the only remaining plot or motivation driven talking heads. She needs more characters to talk to.

Wait… was that not the actual plot? I thought the van/mom's friend/typical stranger danger thing actually developed nicely.

You'd think he'd be tapped out. http://www.youtube.com/watc…

This show could have been pretty good if there was a little breathing room for it to find what worked and what didn't. Too bad. I would have continued watching it, NBC. Instead, I will now continue to badmouth Whitney Cummings and deface her subway ads instead.

^ tl;dr Sorry for this very pendantic comment.

Well there's months and months of lead time before pilots get made, and then more before they get picked up, and even more before they air. So many changes get made by network people and producers, not the writer (because at the pilot stage it's just one writer or two collaborating; there's no staff yet), that the…

YES. Based on the pilot, I thought it would actually be a decent look at what public school drama geeks are really like. Instead it turned into a shitty pop cover factory.

They've also stopped leaning on the talking heads and hardly ever have characters address the camera anymore.

Once they realized that Leslie was hyper-competent instead of incompetent, the show took off. Everything else great about the show tied into that. It opened Leslie and Ann up to be friends and allies. It gave more room for the secondary characters to be strange and outsized (since Leslie, as the most responsible,…

I also like the implication that neither their former hedonistic irresponsibility nor descending into suburban blandness is desirable, and that they have to maintain a balance between enjoying themselves and taking care of the baby. And that they're not incapable of doing simple things. It's nice to see a show where…

Are you serious? Yeah, I agree that usually the average TV writer is much older than the averge TV character, but Sid and Nancy are a pretty ubiquitous reference for a tumultuous and violent relationship, dunder-headed douche or no.

Powers include mastery of karate and friendship for everyone.

Or tell very small-scale stories but make the emotional stakes high (Misfits does this very well).

So would a WROONNNNGGGGGG!!!, considering we're adressing poor adaptations of Superman.

Does anyone even call it the Goodwill? I feel like I can actually speak with authority when I say that there are three places poor New York City youth shop secondhand:

Budget. You only have to spend the money on a film once. A TV series is a long-term operation. If a show starts to falter and the budget is slashed, it impacts the quality of the show.

Agreed. It suffered the same problem as the adaptation of "Speed Racer" to live action. It was so loyal to original that there was really no reason for it. But Warburton and Nestor Carbonell were great.

It was awesome if the first season premiered when you were in seventh grade.

Let's not discount that Walking Dead pilot just yet. That was a damn good hour of television. I dread the inveitable disaster of a second season, but those first six episodes aired in pre-misfire times.

Yeah, this show is exactly what I wanted Rubicon to be - just as moody and mysterious, but with good characters and urgency.