You should watch the Darin Morgan episode from season 11, which is excellent while also being an incredibly strong argument for why season 11 shouldn’t exist at all.

Those Fucking Unicorns

Seasons 6 and 7 are admittedly broader for reasons that can only partially be pinned on the increasing insanity of American politics, but I will put Mandel’s season 5 on the same tier of greatness as Iannucci’s best Veep years. (Having some of Iannucci’s old collaborators on staff that year probably helped.)

It’s also fitting that Sue is kind of the last person standing on team Selina, as Sue has the least emotional and professional reliance on her. She needs Selina the least, and her career is all the more steady for it.

I’ve always wanted to see that pilot, if only to fully grasp how something with so, so much talent in front of and behind the camera could seemingly go so, so wrong.

Give this line to Kent Brockman and it would be the most Kent Brockman-y line he’s gotten in over twenty years.

Hello again, old friend.

See also: Griffin McElroy.

I’m glad they did Burton, and the front half was especially stellar, but for about the past month I’ve assumed that Dumbo was going to be the next movie every single week.

From the various interviews I’ve read about this season, it sounds like there was a real scramble to make the season work when the episode order shifted down from 10 to 7. Seemingly this was the episode that became the primary site for “gluing together bits and pieces of different episodes” into one, and under those…

Yeah. While I kind of miss the reality of the first couple of seasons, in a backwards sort of way the heightened absurdity this season is the only realistic growth this show could have. Maybe I actually just miss... six years ago.

Having grown up in Langley when this album was released and later when it inspired the movie School of Rock, I can confirm that very, very few people there have heard about it. I don’t know if it’s out of laziness, obscurity, or embarrassment, but it just never became this weird little piece of civic pride that I…

Yeah, Maeby has been the most consistently fun character of the Netflix era for me. It’s great to see Alia Shawkat getting crazier stuff to play.

The fourth season has its obvious flaws with pacing, stories that lacked resolution, and character segregation, but I really admire its ambition, darkness, and the way it used the cast’s scheduling conflicts to build off the theme that these people are actually less destructive when they’re a unit. It seemed like…

I have a vague recollection of Tom Hanks referring to him as “Coco Christopher” in that segment, which has also been forgotten. (If, uh, that happened at all. I guess we’ll find out once the online archive goes up.)

Momentarily thought this was a screenshot from next year’s Animal Crossing game because I am out of touch and still haven’t gotten around to learning what Overwatch is. Someday.

I’m intrigued to see Ed Burns returning, who I don’t think has worked in television since Generation Kill a decade ago. There’s a part in The Wire oral history where he cops to basically having never watched the final season of that show, and for reasons I can’t quite articulate I found that weirdly admirable. Like,…

Ever since I bought it <i>It’s Such a Beautiful Day</i> has become one of those films I watch once every six months. Not to state the obvious, but it really is beautiful.

He does immediate punch-up on the Reducto-loves-big-asses montage in “Booty Noir” by suggesting putting him the back of a two-person horse costume, and it’s just a beautiful moment to behold.

I think it’s going to be my go-to example of something that’s unsettling yet incredibly sweet at the same time. Hank just seems so comfortable in the bizarre circumstance he’s found himself in.