I mean, yes. That comment wasn't meant as real criticism.

Except those are wildly disproportionate examples. All he has to do is not eat pork on a couple of specific occasions, because it's a really easy thing to do. One might even say eating pork is a choice one makes, as opposed to something innate about a person. Dev can even be open about his non-religiosity, and just…

Hey, I get it. I'll always ask people to give the end of Lost a chance. In my heart, I know it's a lost cause, but I have to try, because I know how much joy that finale has brought me, despite how problematic it is.

Why the fuck did no one offer him a cookie?

That's interesting. I think that interpretation/misinterpretation works with what his mother says right after: "At least you're reading it." I don't think Dev or Ansari necessarily need to understand the quote, and it may actually be smarter for it to be misused, because it shows that, despite how disconnected Dev is…

THAT'S WHAT I'M SAYING!!! Why would he want more pork???

I mentioned this in my comment, but he's acting like a child, and the shot immediately following the dinner scene is his parents talking to him like he's a child. That said, I do wish the episode would have leaned more into just how petty and unfair he was being. Also, how could he even want to eat more pork after…

The second season is a lot more ambitious, and it pays off beautifully, especially in later episodes.

I feel like I'm in a minority, but I much prefer this to the fantastic "Parents," probably because this is a much trickier outing that says a lot more. Some parents suck, but most of them try pretty hard to give their kids great lives. So, it makes sense that Dev would come around to really showing them that he…

Having read the screenplay, the Looper video has it wrong. And if they had included more of that ending, the writer talks about the ending in terms of what a person can do if they believe they can do a thing. Anyway, the screenplay suggests that he flies off, and that he finally proves to his daughter that he really…

That's true, though Nicholson has been incredibly kind about the whole debacle, so I can't imagine she'd stoop to that.

Having listened to the entirety of The Canon, the Goodfellas episode is one of their more contentious discussions. I'd recommend episodes where they agree (like Blade Runner, American Beauty, or A Face in the Crowd,) or are more magnanimous (like The Road Warrior vs. Fury Road,) but as a longtime fan, the show has…

But if she has no defining characteristics, why do we care if she ends up with Dev? The show calls out the fact that she barely has an identity outside of her life with Pino and in Modena. In a lot of ways, she's basically stuck at 18, and probably didn't get to grow into an adult the same way most other people her…

"Some may even say that you're a fake Arnold."

STILL DOING THIS SPOILERS STUFF
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But so much of why she does what she does is that she's never had a life outside of Italy. If she's going to make a dramatic shift like she does, she should do it for herself. And maybe that could include Dev, but it's a bit disheartening that the show doesn't give her more…

SPOILERS SPOILERS SPOILERS!!!
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Francesca should've gone off by herself, and not ended up with either Pino or Dev. That should've been her arc. It was Dev's arc last season. Why can't it be hers?

Season six of Community can be really hit or miss, but I'd argue that "Emotional Consequences of Broadcast Television" is one of the show's strongest outings, and maybe it's best episode—up there with "Remedial Chaos Theory," and "Advanced Dungeons and Dragons." Then again, I've been rewatching Community over and over…

I mean, that's not just not true. I haven't re-watched season four in a couple years, but there a few running gags that that right off the top of my head.
-There's "you're out of the movie," which actually starts as "you're out of the play" in "Flight of the Phoenix."
-There's the parade of knock off bags from episode…

And maybe I, personally, am more enamoured with the astonishing nature of such a tightrope act of storytelling than traditionally.

You could always just re-watch the series, which has always been part of the draw of Arrested Development. It rewards revisits immensely, which is no truer than with season four. Also, I think the season is aware of one of its other prime criticisms: The Bluths are better together—which is the catalyst for the entire…