NBC has historically done everything it can to make sure that these two shows don't appear on the same programing block as much as possible, so perhaps we'll never know (licks it takes to get to the center of a tootsie roll pop style) which show is better.

Homer:
The doll's trying to kill me and the toaster's been laughing at me

Joel McHale has helpfully told me (via twitter) that Dean Pelton was nominated for a writing award for The Descendants screenplay. So there's that. Hurray for Jim Rash!

But still not quite as bad as "Sandra Bullock, Oscar Winner."

I usually do this as well. Historically it has led to me seeing some very bad films (The Reader, immediately springs to mind). I am thinking of quelling my Oscar OCD by adding an addendum in that if a film fails to get 50% fresh rating on rotten tomaters it can be designated exempt.

When I think 'bedroom pop' I think of a kind of subdued, claustrophobic one-man-rockshow kind of sound. Like Bright Eyes 'Letting Off the Happiness', The Antlers 'Hospice' or even Bon Iver's 'For Emma, Forever Ago.'

on a semi-serious note, i was always confused why Abed was so excited to take that class if he had already come to such a unwavering conclusion regarding the answer. Maybe a stronger, more willful and charismatic teacher could have changed his mind? Maybe he was just excited to take a class on Who's the Boss?

Dr No era Bond was surprisingly hands-off, violence wise. yeah there are some (clumsy to modern standards) brawls in those films (like on the train in FRWL) but I always got the impression that early Connery-Bond was just an efficient killer. More likely to shoot you from a safe distance, possibly in the back, and…

"I think Amy Poehler is really funny, but there’s something not quite
fully formed about this character and her performance here. I suspect
that given time—and I hope the show gets some time—both will grow
stronger."

I'm waiting for a "Rowr ROWR Like a Dungeon Dragon Tattoo" crossover hit single.

Chances Kanye uses the phrase "Spacely Sprockets" in a song for the film: 98%

Man, this is the kind of article I come to this site for. Brilliant writing and analysis that flogs and celebrates wherever appropriate. I particularly love the way you assess Fox and the strengths of casting him at this point in his career and the 'risky' lineage stuff concerning Spielberg and Zemeckis and how that…

he knows when you've

for me it is similar to the moment in

This, along with Spaceghost, sealab and Cowboy Bebop completely rewrote what I understood animation could do and be back in those glory years. I think only the Venture Bros has been more important to me than FLCL.

I think the review was well written but I was surprised by how dissimilar the show feels when watching it and then when reading the summary. I understand that the same action unfolds in both the show and the review but they couldn't feel any less alike.

I think some of the plot points need to be deciphered and teased out in a way but if you mean decipher as in interpret, I think FLCL is almost interpretation proof. Postmodern is oftentimes a dirty word these days but a lot of FLCL felt to me to not quite be 'weird for wierd's sake' (as the Simpsons defined…

the only 'bad' thing about it is that the series is so damn short. Then again its kind of a like a heavily reduced sauce or something. Super intense with all the excess burned off it. can't wait for the AVClub's take.

After Next:

SPOILER ALERT
The erection will be shaped with a twist.