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nscranor
avclub-c2772fe942fe1bdcf0fec5d508dd6e23--disqus

I wouldn't say no to joining her for a night at the museum: battle of the smithsonian.

The magic baby was also another case of a TV show that seemingly takes place in a universe where no one has heard of abortion, not even the guy with Not-A-Father cigars. Presumably #31 is against it, and I don't necessarily expect a five-minute sitcom subplot to bring it up, but it's a larger ongoing thing where it's

If it must end with Ted & Robin (I'd argue it shouldn't), I would have been happier barely meeting her at all so I wouldn't care so much when she's gone while understanding that she was important to Ted. But then they got renewed for an extra season and cast an incredibly likable actress with great chemistry with

Yeah, when the first absolute vocal confirmation that an important character is dead is in the context of someone telling the camera to get over it, there's a problem.

It seems like "problematic" exists originally as an (unconscious?) olive branch to the person/thing you're questioning. As in, I think something might be racist or sexist but I don't want to put everyone immediately on the angry defensive by mentioning the words "racist" or "sexist." Now white guys get angry and

Blasphemy. That would be hubris in defiance of God's plan for us to watch TV live. May no such device ever be developed.

A) Their owner is a jerk. B) A Paula Deen-like clinging to the past exactly as they feel like remembering it. C) Native Americans are marginalized and invisible to many, which makes the issue seem abstract to folks who've never met anyone more than 1/16 Cherokee and they think they heard a poll once that Native

That last visual pretty much seals it. I somehow doubt she killed the title character then fired a celebratory shot into the ceiling.

Yeah, I love Hannibal but it's pretty heavy for when you're finishing your work week, kicking off your shoes and trying to relax.

I think it's more symbolic than anything. It seems like such a no-brainer that it makes it really easy to point out the gender bias and WB's incompetence when you can say "Rocket Raccoon is in a movie before Wonder Woman. Spike and Leech were in a movie before Wonder Woman." Anybody can understand how crazy that seems.

I'd say Golden Age is late season 1 through season 2. Silver age is seasons 3 through 5. Bronze Age 7 through 8. Don't remember enough about 6 to say where it places.

Which reminds me, credit to Psych for making the new detective her own person. New characters brought in at the very end of a series often seem to exist just as one-dimensional comments on a full-time cast member, but while they feinted in that direction with the Lady Lassiter bit, she felt like she was her own thing

It's not so bad if you can wait it out until Amazon Prime is invented.

Zach Galifianakis as Sallah, Ed Helms as Marcus. Annie's Boobs as the monkey that eats the poison date.

The gonk droid.

Barney's pledge to be honest to Robin was such a relief for me after just this very season we had another "I will lie to you and that's supposed to be romantic somehow" ending. That's all I really needed to have closure on those two and not think their relationship is pretty horrible, and the past couple seasons had

What's the ratio of U2 talk to non-U2 talk in the most recent UTU2TM? I have enough other podcasts on my plate that I may skip this episode if it has a pretty hefty dose of U2.

I'll add to that theory that (with a few exceptions) it seems harder to live without a car in America than in most European cities. If you spend a lot of time in your vehicle, it's comforting to think that it's cool or meaningful. Also, the country is so large and connected by highways that the fantasy of just driving

The Honey Nut Cheerios commercial during this episode was the most frightening Honey Nut Cheerios ad ever.

I mean, America didn't come up with Top Gear or Ferrari World. Lots of countries have car lovers, it's just that American car lovers pretend to speak for everyone.