Prass's debut album is already better than any collection of nine songs from Swift's entire discography.

Louie looked fucking gigantic as he towered over Pamela to try to get her into his bedroom.

Hack and Catch Dogs, the AMC-Ubisoft crossover we've all been waiting for . . .

The townspeople were celebrating because he was witness to Milhouse's "heroics."

I wasn't the only one who found the episode completely devoid of humor, right?

Detroit turned Ken into a dick.

I know you're all wondering what song was playing during the big reveal.

"What do me and O.J. not have in common? I found the real killer, bitch! Get over here!"

I could listen to Chris Messina read Bridget Jones's Diary for an entire episode.

I was actually ready to cast this aside as another hackneyed-plotted, all-too-familiar, sitcomy episode until the absolutely thrilling "revolving-doors" finale. There was so much energy. The acting, direction, and staging were fantastic in the end.

•_•) I guess you could say
( •_•)>⌐■-■ Jess just became
(⌐■_■) Nick's Old Girl.

RICK AND SUMMER GON' GIVE IT TO YA!

That ending was magnificent.

It still feels like much too long.

Oh god, there's still an hour of this left . . .

This episode was fucking brilliant.

"It might eat brains and exhale space AIDS."

Nick Kroll, you son of a bitch, you got to make out with Jane Levy.

It is a shame your inference of what I said was so egregiously wrong that it is laughable.

You mixed up the meanings of "plot" and "story."