writer 1: so how about we end the season on this massive cliffhanger where simmons gets attacked/trapped in the big alien artifact thing
oscargamble
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LARRY: The Republicans, they're crazy! Crazy and bad!
AUDIENCE: …
LARRY: [stares uncomfortably]
AUDIENCE: …
LARRY: [chuckles nervously] Yeah.
AUDIENCE: [polite applause, scattered laughter]
Easily the best episode of the season so far. In retrospect, actually, the whole Gryzzl/National Park arc seems pretty weak and forced. I'm ready for pure series-capping fan service from here on out.
things that were great: the set design of the office where the killer worked. awesome vintage Burton vibes there. more please.
lol
lol @ Agent Black Replacement calling Morocco "the Middle East"
I didn't like it at all. Aside from being very rote and predictable, it just seemed like it was far too confused about what it wanted to be—not compelling or suspenseful enough to be a genre novel, and not rich or complex enough to be literary fiction.
Future Islands probably gets my vote. But also:
This episode was a bag of hot wet garbage, but Colin Jost did as good a job as could be hoped for, and c'mon, the '12 Years a Slave' sketch was hysterical. Are we really at the point where we're faulting a comedy show for failing to capture or add to our national super-serious Conversation About Race? Downplaying the…
I have to say, there was a stretch earlier in the season (roughly from “The Broken Code” to “The Lighthouse”) where it seemed like this show was just totally out of gas and the outlook for the rest of the season was pretty bleak. But since then (a couple dumb gimmick episodes notwithstanding) I think it's recovered…
This season has obviously been uneven, but you really have to give the writers (and Cristin Milioti) credit for pretty much nailing the Mother and her character. The season (and the entire series, sort of) hinges on this entirely new character who needs to be plausible enough to fit in, likeable enough to be worth all…
Yeah, it worked in the context of the episode, it just struck me as a good example of how this show now regularly deploys sitcom tropes (e.g., a consequence-free punch to the face) that it once so effectively subverted/deconstructed.
As has been repeatedly discussed here, impersonating a police officer, judge, etc. in order to coerce someone into sex—which Barney has been shown to do repeatedly—absolutely qualifies as rape.
One of my favorite HIMYM episodes is "The Fight," if only for the scene where the gang finds the idea of resorting to physical violence as bizarre as a normal, well-adjusted group of adults would. ("He wants us to fight? Like, with our hands?") Tonight Ted punched a guy over a bottle of whiskey.
Play by Play! That fucking hook, man. It honestly kind of bums me out that I might not ever again like a song as much as I like Play by Play.
Top 10 that I haven't seen mentioned yet:
1. Autre Ne Veut - "Play By Play"
2. Jon Hopkins - "Open Eye Signal"
3. Vampy Weeks - "Hannah Hunt"
4. Party Supplies - "Going Back to New York"
5. Volcano Choir - "Byegone"
6. Kevin Gates - "Neon Lights"
7. Son Lux - "Lost It to Trying"
8. Blondes - "Elise"
9. Moderat - "Bad Kingdom"
10…
It's got to be a good sign that a show called "Brooklyn Nine-Nine" has managed to be pretty funny without yet going to the bottomless well of comedy that is, you know, Brooklyn.