"It is inevitable that any contrary opinions will be shouted down"

I actually still like this show, but I think I answer the central question of the show COMPLETELY differently from the creators. "You're watching an entire way of life ending, isn't that sad?" FUCK NO, that way of life was horrible, the Granthams are a bunch of twits, and good riddance to bad rubbish.

Well, he didn't "prevent" that life, it was all just a dream. I guess you can argue that that's what "would" happen if the Doctor left Clara alone, but I'm unconvinced, the crabs' dreams weren't really plausible before that.

Yeah, the Ponds got a little weird in that 7A seemed to give throw out a bunch of different *potential* reasons for them to leave, but there was no episode that really wrote them out until "Angels Take Manhattan".

I ended up really loving the Avengers franchise (New, Mighty, and Dark) throughout the Bendis run, weaving in and out of the big events. They definitely benefit from being read as a whole instead of month-to-month, though.

If any of those things happened, they would not be analogous to Waid's run on DD.

I don't really buy that; the "wise-cracking" Daredevil lasted for something like 100-150 issues in the old days, and has been revisited by Karl Kessel, Joe Kelly, etc. Moving to San Francisco is, in fact, a callback to an old Gerry Conway story, and the ur-plot of Matt's ongoing identity issues came directly from the…

Eh, you really can't out-noir the Miller, Bendis, and Brubaker runs. I appreciate the change of pace.

Telling his artists how to not piss off their crowds would only redound to Simmons' benefit, though. Doesn't seem that heartwarming, I'm sure he was only thinking of his bottom line.

I think that's an important story in this discussion. If the Beastie Boys "matured", they did so, in part, because someone told them that what they were doing wasn't cool. If that's the case, you can't just say, "Iggy Azalea's a dumb kid who will grow out of it, you don't need to critique her."

"I get where you're coming from, but black people have WAY bigger problems than Australian wannabes, as the news has made painfully clear these last few months."

Modern Luke Cage has definitely been toned down. He's still stubborn and emotional, but he doesn't spit so much faux-street nonsense.

The sponsors will be the absolute dead last people to adapt to the new world of television. For goodness' sake, they're only just now putting black people in their ads.

Well, I surely can't base my assertions off of things I DON'T know. But I'm always willing to know more, so if you can present compelling evidence that the Clintons *did* kill Vince Foster, or that Hillary Clinton *is* in a lesbian affair with Huma, or that Bill Clinton *is* a Manchurian Candidate, by all means,…

Granted, NBC has done just about everything else in it's power to not make money, but that expectation is an order of magnitude beyond.

I'm just gonna stick up for Shameless for a minute- the U.S. welfare state is so incredibly different from the UK's that I really found a lot of the original incomprehensible. Plus, the U.S. Shameless is probably the only show set in Chicago with an actual sense of the city (I'd almost argue it has the best sense of…

Oh, it had its moments. It was definitely empty calories, though. There was never anything significant or insightful about it, it was just push-button comedy. "Here's six wacky personalities, just add in an external stimulus and watch 'em bounce around for half an hour." So long as the writers had a good handle on…

I believe they're all transcribed and find-able online, if you really care what a TV producer has to say.

It's also interesting that there's a real undercurrent of meanness to all three of those shows, and man, P&R just doesn't have a mean bone in its body.

It's that there's no easy hook to P&R; it's not as lurid as 2.5 Men, it's not as pretty as Modern Family, and it doesn't have as simple of a premise as TBBT.