I feel like once Mac realizes Palahniuk is a gay dude who wrote about guys beating each other up in a basement, so much of the world will make sense to him again.

Rob and company are in the writers' room to break every story and they look over every script at the end to polish it and give it their voice, like most showrunners do.

God this episode was fun. Two of the three plotlines did nothing new and just stuck with one joke the whole 17-ish minutes (how many commercials are they DOING?) but still so entertaining because they just know how to create a solid script at this point.

'Drew Barrymore Does Vore' would have been catchier.

Nah, you're doing it right now, friend.

If you can put people back to sleep, maybe their kids woke people up to be their partners if they chose and go back to sleep if not, or maybe they woke the whole ship up to -

In this case I feel like she could read the implication and say 'ok!' out of spite.

You realize you're being fucking creepy, right? That's the joke? God help us all?

It's an okay movie about how people trick themselves with their own feelings, but I do wish we got something at the end that showed she hadn't just realized things but had changed enough to find her own happiness. Partly because there are certain things people want to feel going to a rom-com, partly for the same…

I had wondered if someone linked this in response yet! One of my favorite moments of Season 1 is when she sees Valencia beaming talking to her mother and has a not-half-assed desire to make things right that lasts multiple episodes.

Collateral Beauty seems like the real capstone, tbh, although this does highlight the sexism of this year nicely.

I bought later Andy and earlier Andy as the same person who just…grew? S1/2 Andy was manipulative AND a manchild, basically, he never seemed to understand why what he'd done was wrong. When he grows a little, you feel like he's also the kind of person who when he realized his awfulness would have made things right.…

There's a lot of really cool stuff to explore there. I like that idea for a different movie, I think it'd cover different ground than this one. Here I don't even know if they'd have to go that far. People idealize each other in the name of romance or romantic self-discovery all the time, think Clem's speech in Eternal…

Something can be funny because it's blatantly 'wrong' like that. It's like the weird cousin of gallows humor.

Ugh, see, I'd see a movie about someone so consumed with loneliness he makes those decisions. I think there's a way to make that sympathetic and even romantic in a messed-up way, depending on how it plays out. This is not the way to play that out. This is not even a Twilight or Fifty Shades version of "maybe someone…

You're not wrong, I'm not saying people shouldn't, exactly. It's more like - for instance, changing the Ancient One to a white woman is whitewashing in a sense, even if Marvel made a point to add or incorporate POC for characters that weren't POC representation before. But say the Ancient One remains an Tibetan man.…

Siiiiiigh.

And I'll never understand that point of view but it's a perfectly fine one, sorry for being kind of an ass in the process.

/That's/ the season that made you think Barney's an asshole? If the show was supposed to be realistic about Barney, he'd have no friends and be in jail. Their divorce has nothing to do with his behavior. You're very clearly supposed to root for them and there's season after season of moments designed to make you root…

The first meeting Ted had with Tracey basically screams 'this is the soulmate I was meant for'. Most people don't meet cute in some artful way after their spouse-to-be has had meaningful moments with all their friends. The whole narrative was like that, with all those little coincidences sprinkled through it. Ted's…