It's just annoying, really. The only way it would be a hardship is if I valued the input of the kind of person who has never worked a day in his or her life and is rude to waiters.

No, I just find the whole kind of culture around such words annoying—and on certain levels—terrifying. In meaning, it may not be designed to do this but in usage this is one of those words people throw at you if you're a white guy and they want to silence your voice in a discussion. And it's usually an upper class…

Do you feel like you used enough exclamation points and capitalized words there?

Language is a living thing and—yes—all words are signifiers that someone, somewhere made up. But not all words are made equal and there's a reason these types of terms in particular piss people off.

I also feel like they sort of waste Martin on this show. For example, he's a star of musical theater on a popular show that is popular largely because it actually embraces the absurdity/goofiness of its genre in a fun way—would it kill the writers to find a way to write a Joe-centric musical episode? Maybe have Neil…

On top what everyone else has said, S1 Reverse-Flash also spent the entire season literally sitting on a Speed Force charger and using a gadget from another lab to amp up his powers. Maybe, at his natural speed, he's easily beaten by Barry and this encounter teaches him a Littlefinger-like lesson, i.e. the only way…

Not that I'm expecting it from this show but in real life her direct access to the US Attorney with jurisdiction over their offices would probably bump her pay all on its own purely for the influence it could buy. That's essentially the reason why Mrs. Clarence Thomas makes bank as a lobbyist and Chelsea Clinton has a…

To be fair, Mara's character was neither of those things—she was mostly constantly nude/semi-nude eye candy.

Its popularity seriously started to wane when they gave into Edelstein and made House and Cuddy happen. That had to have something to do with it, since the show was cancelled around the same time it was clear that that had not gone over well.

The dialogue of his that bothers me the most is when his dialogue and his wife's isn't really dialogue but the writers literally spelling out the subtext of the scene, themes of the episode, or motivations of the character/s for the audience. The entire ending of the episode is a perfect example of this.

Repeatedly hitting the guilt theme with Giamatti and the working class resentment of "old money" with Lewis suggests this is a dumb show that thinks it has an interesting take on Big Issues rather than a self-aware melodrama.

They live in communal settings just off-campus. I think the main driver at this point, like in most cults, is to provide fanatical men who would otherwise not get laid an endless supply of easily manipulated and vulnerable young women.

In light of what we know now, I wouldn't necessarily put the CIA and drug-related "conspiracy theories" on the same level of the "government created AIDS to kill minorities" conspiracy theories. A lot of what people were saying about the CIA and drugs turned out to be true.

Things have certainly got worse but I don't think the echo chamber effect has necessarily gotten worse. Idiocy and/or lunacy is its own echo chamber. I think it's just they're mostly in the same room now.

If this does well enough to go back to series, they need to give Carter an executive producer credit and then back up a truckload of money to Gilligan's house to entice him to come and run the show. As many in the thread are bringing up, modern political and social discourse has kind of laid bare that the show's…

Would you say you were less dialed into things in the 1990s or that the right-wing being tied to tinfoil hat crackpots has just become way more apparent in your view? That relationship goes back to about the 1920s and the birth of modern mass communication.

Given that he's this angry so many years later, I'd bet money that GE paid him far more than the usual rate in exchange for a few different waivers and agreements due to this.

I think it's the whole Disney kid thing. High level of stress on a child can do weird things to them physiologically and almost everyone that comes out of the other side of being a kid under contract as a performer for Disney's television division makes it sound like Clockwork Orange-level child abuse.

In broad terms, this series is basically a fantasy version of the Wars of the Roses. If they stay true to that, the final fight pretty much has to be a showdown between House Stark (York) and Lannister (Lancaster) with York enjoying a brief victory over Lancaster before being overthrown by a compromise candidate that…

Rocky IV being the other classic example.