I'm all for Davis and Weil seceding from the union. Weil is the only regular on the show functioning at anywhere near Davis' level.

Isn't catching the coin and flipping it on to your non-catching hand a thing people generally do?

I've been really down on this show for a while now, but that moment gave me the weirdest fucking chills. This show better get people to put Davis in more legit-good projects.

This must be what "happiness" feels like.

Plus, between her and Meep, they're leaning super-hard into playing the Sweet Pure Martyr Card, which feels so gross and manipulative and unearned to me.

I've thought of it more as a multiverse, where there's thirteen writers that each write a full season based on one logline, and we get to see one episode of each of their seasons.

I love Lange on this show (a lot a lot), and I think Elsa is a terrific character in a vacuum. But knowing that this show will never let her play anything other than a diva shit-disturber is seriously harshing the buzz after four years.

https://www.youtube.com/wat…

"Was the Penny subplot necessary at all?" No, but you best believe Murphy is fueling it while trying to get Grace Gummer's mom on deck for the post-Lange era, as ludicrous as that idea is. You can't tell me that this show cast Streep's daughter and Julia Roberts' niece, not just one but BOTH, by accident.

—The Nirvana shit was UK Office levels of cringe-inducing embarrassing. Both as a performance and as an attempt at "THIS IS ROCK MUSIC" editing.

What's funny is that I agree with the basic concept of the article, but find nearly all of the examples unfair. From Nip/Tuck to AHS, I'm more bothered by the repeated treatment of gay men as gross and/or salacious than by… whatever comparison they were trying to make between Peters' characters and Sean MacNamara…

Bates pulled off a really interesting performance in a terribly written role and in a ridiculously convoluted storyline. I mean really, just try to explain that arc. Nothing about it works. But she was always engaging to watch, and made the story feel better than it was at times. Which for all the hamminess, is an…

Plus, it has something that all of Fuller's shows have— it basically just invents its own form of logic and deploys it to the point where you almost don't realize how fucking insane it all is until you try to explain the plot from scratch later.

My entire fascination with this show is that it's a show that I would normally hate gift-wrapped into something that I find really delightful. Pushing Daisies, with all its twee trappings, is probably the last time that something pulled that off with me.

Yes, it tells that The Newsroom is fucking awful.

I'm excited for the moment that I assume is going to happen where Petra's mother triumphantly stands up out of her wheelchair to go fuck shit up. The concept is too awesome to be mad about it being predictable.

"My father did not kill dozens of Germans so his daughter could DIE IN A VAN."
"But he wasn't in the war…"

I don't want to.

I read the expression as "I lost a bet to Brian Williams."

I think I was about 10 or so when she died, and I STILL vividly remember Try Again. Age is no excuse.