Florrick/Agos is working on a skeleton crew right now. We definitely haven't seen any assistants working directly for the partners over there—or any non-essential staff at all.

Oh, child, you *are* alone. Be brave!

Good point! There is no depth in the acting—or at least not on the level that everyone else is on. Super-weird when you consider how Archie Panjabi is the show's other regular to win an Emmy. It just makes me want Baranski to take one home for "The Next Day" even more!

I think there's a reveal coming, but I also wonder if this is one of those moments when TGW sets up something that looks iffy but turns out to be totes legit. Like when Anna Camp kind of looked like she was All About Eveing Alicia but ended up quitting the firm the moment she got pregnant, or when Marilyn looked like…

Welcome to full-time Good Wife duty, Sonia! I love that you love this show.

I thought about that too. Ultimately I settled on the idea that this was the show's sly way of revealing that Kalinda will never truly be able to trust Cary, even when it means failing at her job. That made more sense to me.

I agree! I didn't remember him being as creepy last time he appeared, but maybe that's because he wasn't threatening characters I love. (STAY AWAY FROM ROBIN.)

It finally clicked: maybe I hate Kalinda. I started watching TGW in season 3, past the time when Kalinda was used for anything other than exposition and incongruous sex scenes. So, when I saw in her bed again with Cary, a character I find charming, it made my skin crawl. Maybe she's just too tarnished by soft serve…

Parsons got good-to-great reviews in his run as the lead in a revival of Harvey on Broadway. He's a very specific type: childish, awkward, etc.; but I don't think he's locked into a single character.

I didn't know about the new SNL reviewer, so I read this review thinking, "David Sims and I are in synch about this terrible SNL in a way that we never have before." And then the final stray observation clued me in that it's a new writer.

I'm kind of amazed by the reviewer's suggestion that Mozart is nothing like what goes on network/cable TV. I haven't seen Slings and Arrows, but my immediate reference point was Smash; and the show has a lot of similar things going on. Bright-eyed ingenue hoping to make it big, Broadway cameos, show-biz stereotypes,…

The surveys are @ amazonoriginals.com. It's just a general viewer response survey.

But the Ross and Rachel for the majority of the show's run is not the Ross and Rachel from the first season. Season 2 flips the dynamic (putting Ross in happy relationship with Julie and making Rachel the unrequited), and then the whole unrequited love thing is dropped soon after.

It's a workplace comedy, so Boyle's wife doesn't need to be a regular. In fact, it would be weird if she was. But she could be seen as often as Sargeant Jeffords' wife or Captain Holt's husband is.

I would have liked it to be even crazier. The idea of Gina's dance troupe ended up being funnier than the reality.

Um… I've been watching since the pilot… so, option C?

I've not seen Slings at all, but Mozart is set in a cartoon world, so yeah, I feel you.

I've really liked how the writers/actors have expanded that relationship since the pilot. Instead of Boyle trying to impress a woman who hates him, he's just trying too hard with a woman who likes him but doesn't like-like him.

I watched Transparent and Mozart. Transparent just wasn't for me; there's a whole group of prestige dramas about unlikeable people that wants me to find them fascinating for their flaws, instead of annoying, and it never works.

You know, I would not mind this being the April-Andy marriage of Brooklyn Nine-Nine: a split-second decision to get married that ends up being a perfect match for the characters and a comedic goldmine for the show.