Psych was a procedural, but it was a lot lighter than most cop procedurals, so it was easier to transition to fantasy episodes like that. I do think something like Cop Rock would have a better chance today, with 25 years of Law & Order, Homicide, NYPD Blue, Law & Order: Sex Crimes, CSI,

Reverend Horton Heat - Gin and Tonic, Beer :30, and probably a dozen more…

This list reminded me of a dual revival attempt in one music video from 1985, combining the powers of Jeff Beck and Donny Osmond:

" In interviews, producers Phil Lord and Christopher Miller have said that Forte convinced people The Last Man On Earth is sustainable with thirteen different twists"
I just now have an image of Will Forte in a laboratory *LIGHTNING FLASHES!* deriving his Theory of Thirteen Different Twists to pitch to the Fox…

In the world of ambient music, this type of appropriation is common. Some familiar melodies (from the likes of say, 90s Sting) will be set to a "boots and pants" percussion (with the proper credits to the original artist).
I actually kind of like it - the repetitive nature gets me into the rhythm when I'm reading. …

How long before we have the requisite "6 months before the virus" flashbacks?
This was an entertaining episode, but I'm not sure how far this can go on this primary story line.

I was wondering how the show would escape the premise it sold in its previews (with only one character). I was impressed with Schaal's introduction as a nemesis to play off of Forte's well-played primary character.

I'm late to the party on watching this show, but good grief, this series is busy with a lot of subplots and, apparently, not a lead plot. I know the city is supposed to be the hook on which all of this hangs, but there are so many subplots going on that unless they're tightly connected to a singular theme, it just…

The reason rom-coms have these contrived plot devices is that real life romance is, by movie story standards, boring. If you're not proving your virtue by killing the bad guy and saving the day, or winning that ski tournament, coming up with plot points with a romantic interest gets difficult, where nearly any out of…

I wasn't a fan of this episode either, but I think some of the confusion is over the "rules" for certain types of shows, in particular the Treehouse episodes. The script expressly said the alien visit wasn't a dream or Halloween, which would lead us to believe it shouldn't be viewed as such. But the acid dissolution…

To the episode's detriment, I did not see anybody toss a fifth of gin.

It's basically a condensed version of The Wall, for better or worse, splashed with a little politicking. I do like "Paranoid Eyes", which, thematically, is an outlier from the rest of the album.

Me and Bobby McGee

Jane and Sergio in "Jane Says"?

Agreed on June 17th, 1994. I also liked Four Days and (I'm not sure this was a "30 for 30" proper episode) the one about Todd Marinovich and his dad. Watching his dad try to reconnect with Todd, after relentlessly driving Todd to be an NFL QB, and after Todd went through a drug addiction, was moving.

FXX today played a series of episodes featuring rock bands. Two weeks ago, in anticipation of the Sunday episode over fracking, FXX played a series of politicial-centered episodes. So is this a thing, FXX Sunday serving up the right Simpsons episodes so that the liturgy will respond correctly?

Agreed. When I was in grade school in the late 70s, the school would plop us in front of the TV to watch Sesame Street. I do not remember seeing anything as awesome as the Superstitiion performance.

I thought the "stew for the winter" line was a little rough, even for this type of episode.

The Kubrick/Clockwork Orange piece was all over the place. Some of the jokes hit, but it would have been better if it had focused the parody to the movie, not the director.
It's what I saw during the FXX marathon: the writing seemed to devolve to "Simpsons at a dude ranch - please submit your gags in the suggestion…

I think his work as Apollo Creed in the first Rocky movie is underappreciated, given the difficulty of the part. The audience knew full well who Creed was a film depiction of, so there was a standard already set. He had to bring both the athleticism and the charisma to make Creed the seemly unstoppable force he was.…