That's why I was really concerned/disappointed when Fuller was announced as showrunner. But the loss of his last show has left such a hole in my heart that I'm willing to go with it.

Legion is great, but as far as mind-fuckery is concerned, I can only describe it as a mainstream, middle-American, broadly accessible repackaging of what was going on in Hannibal. Bryan Fuller was the driving creative force behind Hannibal, or at least the public face for its creative team. That bodes well for this…

It's hard for me to get my head around where his issues with female characters came from, because I really do think that Dana Whittaker is one of the best-drawn sitcom characters ever.

Damn straight!

I think I referenced it in a thread on an earlier episode, but she's an under-the-radar powerhouse. Back when The Onion did these parodies of CNN studio segments, she was a frequent presence in their roundtable discussions and always killed it.

I'm torn: I really thought the Hellen Keller review was the first time this show has ever lost its balance, but then his lawyer (she of the amazing, "I was looking at last year's calendar!") pronounced the "h" in "your honor," and now I think it was all worth it.

This poor freaking woman.

Finally read AMERICAN ALIEN a few weeks ago. I don't love it quite as much as SECRET IDENTITY, but, man, I do love it. Thanks for the encouragement to read it!

Did you ever end up reading SECRET IDENTITY? I'm curious about what you think.

I didn't think that the problem was profile writers assuming familiarity, but rather profile writers dwelling on women's sexuality in the eyes of third parties rather than attempting to communicate anything about their female subjects as professionals or as complex, nuanced and rounded people.

Whatever movie it was I did or didn't see portions of, the process itself was utterly horrifying. Here's hoping I can share something specific about it some time.

A couple months ago I was in a focus group for an upcoming science-fiction/fantasy film. Because of an NDA, I can't share which one it was or what my opinion on the portions of the movie they showed us was.

I'm getting a kick out of the lawyer's various excuses for being late. I think my favorite of them is, "I couldn't find my shoes." But they all pale in comparison to her waving nostalgic about having sex on a Segway: https://youtu.be/N5Rs8zdEHJw

For me, there are three joke structures I will always laugh at:

I've only heard a couple of her songs, but I think that's enough for me to say that I dig her voice.

Hannibal is really more about the style of the show than it was about the plot. It was told from the point of view of an ill federal agent tracking a serial killer that, for the first season, he doesn't realize is his therapist and good friend. While the show began with a fairly heightened narrative grammar that…

I am re-visiting the second season now. When it first aired, I thought it was the final season and couldn't get over the fact that it had the exact same ending as Hannibal, which had ended just ended a few weeks earlier. For me, that symmetry overshadowed and obscured how grim the ending actually was.

I feel like that was *really* well-trodden ground in the interviews and critical discussion of season one. At some point, you have to stop having the same conversation with the same outlets, no? Everyone eventually stopped feeling the need to talk about the British Office every time they talked about the American Offic…

It's tragi-comic. In an era where there is so, so much cringe comedy, this transcends the trappings and tropes. Give it a shot. At least try the episode titled "Pancakes, Divorce, Pancakes." If you like that episode, give the series a shot.

What I like about that is that it works both ways: