I'll be certain to take that under consideration.

Colbert did something like that a couple of times, but it was never part of the ethos of his show: Oliver's been trying to have something for the audience to do, silly or serious, every episode. I'm not knocking Colbert here, but this is a different attitude about the nature of what a show can accomplish, and I find…

Yeah, I actually saw that production - and she was great! I was surprised to hear her passing, given how lively she was on stage last year.

I mean, if the refugee crisis is "[not] a topic that can appeal to anyone", if focusing on one girl's experience is a "sob story", and if trying to do something nice for her is "such a yawn", then yes, I can see why you'd find his show "almost unwatchable".

Honestly, I think Oliver just has a different ethos about his job than the other TDS, current and alum, have had, including a more consistently proactive approach - how do I get viewers involved, either in silly ways (hashtags) or productive ways (who to write to), etc.? I think that ethos has bled through most of…

It's early, but I liked this. I like Larry Wilmore, too. This whole comedy block is very likable, and I'll keep watching, because it's a nice way to pass the time before bed.

Ruben Blades is doing great work, but I'm not sure we need yet another show that uses torture in a "yes, it compromises the soul, but it got us all the information we needed" way. Then again, that's just one of many areas where the show is using elements from other shows/movies instead of thinking through the…

Yeah, we laughed out loud at the 83 line (it's a record!) because even if you packed a stadium tight full of people, L.A. would be a far cry from sparsely populated. So few military, so few survivors, so few zombies… I understand how budget constraints work, but that should make you more creative, not this lazy.

…and/or write more interesting characters.

I remember when he got stranded in his boat like the fool that he is.

It was also zombification by an infected satellite, which is why we don't go to that movie for anything serious. Romero's talked a lot about his theories of social collapse and how they inform his 70s movies. There's a reason I didn't mention Night.

I think the intention was to show that the military found and executed whoever was there as a consequence of Travis' conversation, but the writers left off the key connective tissue (like, "in which direction was your son looking?")

Heh, Los Angeles. The fact that didn't bother me at all shows I've lived here too long.

Nah, just a lot of rock fans writing in television.

Outside of all the genre clichés, why would she think of this as abandonment? The doctor's been back and forth from the site to the neighborhood, so why wouldn't she think this is going to be anything but a routine trip to help them?

How soon until society collapses?

It's passé but now you revived it and it's stalking the comments and oh god!….

I find it frustrating the writers don't seem to have any real sense - or able to find any real balance - in the way people might juggle normal behavior with abnormal circumstances. I'm sure people during the apocalypse might still have really boring domestic squabbles, but this seems to be the only way the show knows…

A and F are distant. A and B- is the difference between a critic who found it effective and a critic who found it professionally done but less effective.

It's not a big or flashy role, but I thought he great in Inherent Vice.