“To no one’s surprise, there are sort of two killers: Mother-son producing duo Donna (Linda Emond) and Cliff DeMeo (Wesley Taylor).”

Me, too. Also three times. I needed the third because I was laughing too much before the end the first two times.

Aw, I like Selena. She’s hardly the superstar actor of the series but her Mabel is such a wonderful straight-man to Charles and Oliver. I think a lot of the pleasure with her is in seeing her mostly deadpan through things until something like an attractive documentarian putting his finger on her lips causes her facade…

I think a B grade for this episode was generous. Aside from the questionable judging decisions (a step down from last episode, where it all seemed at least fair-adjacent), it felt horribly rushed given the 60-minute time slot. There was very little time spent in the werkroom, no mini-challenge, no deliberation segment…

The mention of The Americans and Six Feet Under here makes me so happy; I discovered those shows well before this one, but all three have shown an incredible sensitivity towards their characters.

Several years later, but I can second the other recommendations people are giving here. I believe the genre is non-derisively referred to as “narrative adventure” - games mostly focused on walking place to place and lots of good dialogue.

Beautifully done episode. One of the most honest depictions of the mundane aspects of grief and loss that I’ve seen. Character deaths (in film or television) are so often treated with a bombast that causes some of the smaller details to disappear, and I was so impressed with the way HaCF took the opposite approach.…

Late comment, but this episode feels like it deserves it. I just watched this episode and the one following it for the first time, and I’m so impressed with what a poignant, subtle character drama the show has evolved into. The third and fourth seasons in particular have pushed the show up into the same league as…

Both also reference Nirvana; in SFU, Claire remembers (in flashback) bonding with Nate just after Kurt Cobain’s death, while one of the last conversations between Gordon and Joe references the popularity of Cobain in searches since this episode was set around that time.

If you think this is devastating, don’t watch Six Feet Under, Rectify, or The Americans.

I’ll join your late-to-comment party! I agree, there’s something very bittersweet about this show and the fundamental idealism a lot of its characters have. Who could have known what “Online Disinhibition Effect” was, though, or how ugly that might be, when the word ‘online’ hadn’t even become a well-known piece of…

The show has been renewed for a fifth season that is also confirmed to be the show’s last, so I don’t think the showrunners are thinking of that much of a long game.

I agree with you. TMMM is clearly going for more of a stylised approach; asking it to be more nuanced is basically asking it to become a different genre of show. If I want thoughtful character drama, there are other shows for that. TMMM gives me something reminiscent of a much higher-budget retro take on “Don’t Trust t…

I’m not sure how to feel about that elimination. To be honest, the lipstick format has never felt like a good idea to me - if the judges want to protect someone (as they did with Alaska), they can stack the cast with friends who won’t eliminate her. If they want cheap drama, they can give queens the opportunity to…

Alec Mapa might seem like a throwback to earlier RPDR judges because he’s actually been on the show before! If I remember correctly, he didn’t get to be a judge but was one of the guests for the very first Snatch Game, all the way back in season two.

Kandy telling someone else to be more self-aware might be the most ironic thing that has ever happened on Drag Race.

Don’t Trust the Bitch in Apartment 23 had a stellar pilot, and Arrested Development’s, The Good Place’s and Better Off Ted’s were good. Beyond that, I’ve got nothing.

You reckon? I think Utica’s got a good shot at MC as well.

NBC is apparently already examining the possibility of a spin-off focused on Bo and Cheyenne (creatively titled “Bo & Cheyenne”), which could be good but could also be a total mess. If it makes it to series, I’ll probably at least check it out to see how they tackle it.

That’s funny, I never felt the show lacked that because, as much as America Ferrera and Ben Feldman got top billing, I always saw the show as an ensemble show. For the most part it shined most when it leaned into that and away from the Amy/Jonah romance.