You're not alone. I think Lexx has this reputation for being nothing but juvenile sex jokes — a lot of people I've heard talk about it seem to picturing something much more like the awful "Tripping the Rift" than Lexx actually is. Now, Lexx does have a lot of problems, but I think it's actually a highly conceptual…

In fairness, I assume it got pulled by Henson or whoever owns Farscape so that it wouldn't bite into the sales of the just-released full series Blu-Ray set, not due to decisions made by Netflix.

Too bad that in both cases they started the reviews shortly after the shows left Netflix streaming after longstanding availability.

I always understood the first theme tune to be intentionally invoking the choral part of the original Star Trek theme — but putting it through an alien filter. Compare the "wailing" part in Farscape and the "Ah-ah-da-da-da-da" part in the old Star Trek theme back to back, and I think the similarity really pops out. It…

I'm not quite sure what the point of such a campaign would be. It's not like there are any significant steps one can take to avoid it (don't smoke and eat healthy is about it). There's no early screening or anything to nip it in the bud.

I suspect it's less that Willow is a cult favorite and more just that people who were 10 when it came out don't have the venomously hateful feelings towards it that others seem to.

I think we can safely assume that alien archivists have already collected and preserved all episodes of The Simpsons for us, as part of the galactic heritage.

I find the "isn't she incredible" lines for Kate perfectly believable, but I'm just not onboard with Jack's Hamlet being even good, much less great. I know some people here have previously argued that all the show is trying to say is that he's surprisingly good for a Hollywood action star, but rewatching, I think the…

I don't know. If the world were burning and I had to choose between saving Larry Sanders and saving Seinfeld, that would be a real Sophie's Choice moment.

I've been rewatching the series "Slings and Arrows" to go along with the TV Club Classic reviews, and I noticed a great joke opportunity they missed. They have their fictional Hollywood star appearing in the action movie "Final Ending," which we see posters for as a background gag. That's an amusing enough joke title…

I'm pretty sure it all reduces to variations on the "Paradox of Choice" phenomenon described by Barry Schwartz. That is, having more choices and more opportunities results in feeling less satisfied with whatever choice you end up making, because a) the act of having to "choose wisely" is more stressful, and b) there…

I would point you to a little John Carpenter film from 2001 called "The Ghosts of Mars."

I like the simple purity of this one, that takes Public Enemy vocals and puts them straight on top of a Herb Alpert instrumental:

I think it's telling that Knauf talks so much about how all storytelling is just about building character interactions and character moments. And yet, if you look at the comments here and from yesterday, what are people mainly talking about? Are they talking great character moments? By and large, no (other than a lot…

@avclub-3be42d8a3412057f79af152555e39bd4:disqus Don't you talk about my sister that way!

Likewise, videos won't play (they display an eternal buffering circle).

It's like advertisements are TAKING OVER THE WEBSITE!

So, this movie's marketing department was actually much more effective than it's creators? I don't know if that undercuts or just proves the movie's ideology.

Depending on precisely what you mean by "violence," I think Deadwood would have to be a top contender. But the violence in Deadwood is seldom "crowd-pleasing." It's not "entertaining" violence, something that appeals to bloodlust. Spartacus maybe does that better — where the violence is supposed to be entertaining *as…

I have rather the reverse complaint — though you gesture to it in your last line — which is that procedurals actually go a bit overboard in providing a complete psychological "explanation" for what motivated the killer (L&O: Criminal Intent is the chief offender here, since it was almost entirely premised on working…