Having read both Jane Eyre and The Wide Sargasso Sea, yes it did, primarily in its treatment of the first Mrs. Rochester. TWSS is fascinating in that it contextualizes both Rochesters into being human beings, rather than Gothic stereotypes.

Amy Poehler's description of him in her book was that he was pretty far from Tom Haverford — that he's essentially pretty introverted and quiet.

Yeah, thinking about it, he reacted pretty much the same way to Sally's friend as he did to Margaret at about the same age trying pretty much the same flirtation techniques on him back in season 1, which was in front of his boss/her father and her mother, neither of whom cared. The difference is that Sally was present…

He's Roger with a spray tan, minus wit.

Now a big shot Hollywood writer (both on Mad Men and real life!).

I agree with Sepinwall. He was treating her like a client, not as a parent. It was inappropriate for a teenaged girl. He could have shut down her flirting earlier, but he didn't. Even if he sees it as harmless — he knows she won 't succeed — it isn't for Sally.

I liked a lot of the movie, but I agree with you: the problem with the ending isn't the strawman argument set up in this article, for me it was that it's poorly paced and drags on, and on, and on for way too long. It makes the earlier endings look correct because of the execution.

I spent the first 20 minutes of FFX complaining about Tidus's clothing and asking my husband if there was any way to change ít. Nothing about his clothes makes any sense at all, and that (and his hair) are ridiculously distracting.

You have to love the Very Specific Instructions that clearly only come about because something like that has gone down on previous shows. When my husband and I saw John Oliver last summer, we got told three times not to ask John Oliver any creepy stalker-ish questions, because someone had on a previous show. We were…

Don helped Megan get the commercial job after they'd been married for a significant period of time. At the time they first slept together, Megan was not trying to be an actress, and no one had any idea that Don was planning on getting remarried (except for Faye) — Megan wasn't even trying to get a copywriter job,…

I feel like Megan was the one who kept switching to English, it happened most frequently in conversations with the sister, and the English was supposed to signal "cut the bullshit", but that's my impression twelve-thirteen hours later. But from observing my husband's family's bilingual conversations, switches from one…

Wow, that's really anti-Semitic.

Yeah, agreed, this is a bad format for this kind of conversation. I'll admit I've only seen the first half of season 7 and season 6 once: I'm rewatching season 7 now, and when rewatching it, my feelings may come out very differently.

Oh, the divorce wasn't my issue, her calling him out for being a bad man was the thing that bothered me as being anachronistic — it felt like what the viewers wanted Joan to say, not what Joan might say.

Between this and the other conversation about Joan's marriage, I want to have lengthy, thoughtful discussions about Joan with you!

I actually felt like the marriage ending in that way was relatively fan service -y — it felt like the 2010 writers room talking, not Joan — but was so viscerally satisfying that I can't really fault the show for including it.

It actually rang really true to me, but I've had terrible bosses where, you might think they're good people, but anything is better than dealing with them day-in and day-out as superiors. (And Joan, even as partner, is not Don's equal at the firm.)

You're right, I had forgotten that. I retract my cynical assumptions about NBC and am very, very pleased that it isn't The Music Man.

I know this is a blatant attempt to woo viewers who like Empire, and I don't care, because this is the first interesting choice NBC has made re: live musicals, and the first one I might actually watch.

This is really, really excellent advice.