Precisely what Marx says in the Manifesto. And then, after acknowledging those basic empirical facts, he says we can do even better.

Respectfully, we need to stop referring to “working-class whites” as the perpetrators. It was white people, across every class, who committed this atrocity.

White trash here. “Really obnoxious white trash,” in fact, who heard “America Is Already Great” and knew we were doomed.

Wrong. Drag culture isn't trying to represent and speak for trans people. As others here have said, it's its own culture, tradition, and (for many) a life-saving way to fly in the face of the hatred and expectations of a hostile world. There are lots of ways to do that, and the fact that there are drag queens on…

It's not that he's 'disqualified,' but that he's incredibly pretty, rich, and entitled. When Patrick says he wants to subvert stereotypes, there's absolutely nothing about him that makes me believe him. Fair enough—he's just one character—but his place at the top of the food chain is part of the show's critique.

If all you want are plot points, I guess this was "filler." One of the most exciting things about TGW is that it's really riding the edge, episode to episode, even scene to scene. It's so different from done-and-dusted all-planned-out box-set completeness — it feels like the thing could fly apart at any moment. And…

I too am a complete cynic, but I thought the final scene with Grace was right on. Of course she cried. She's completely lost herself and it's dawning on her how far she's come from precisely that S2 episode with her two kids. She wasn't sobbing like she did at Will's death, but she's losing herself… What happens when…

I just don't think the show was trying to "solve" Ferguson, let alone race relations. And in a way consistent with the rest of the show, I think it was showing how race and social relations happen in the halls of power. The white people got what they wanted, and they barely had to deal with any non-rich non-white…

Yeah, I read the whole episode differently. The crowding-in of real life, the lack of the dream-like emotionality of the first few episodes—isn't that the point? As Noah's and Alison's fantasies enter the real world, it gets rocky. (And Mare Winningham isn't ridiculous. I think I've met her before.)

I loved the line about Mason, something like, "Another common name for a generation whose parents would never lower themselves to perform the profession itself: Mason, Tanner, Cooper…"

I was worried when Episode 2 had them back together so soon, and it could have gone wrong in a hundred obvious ways. (Lots of Moffetian static, fighting, comedy, irony, resentment.) But those subtle moments were fresh, quiet, quick…and it seems like it's going somewhere new.

This is hilarious! The facts are pretty simple. Freud's breakthrough into the medical and intellectual scene was his Interpretation of Dreams, published in 1900. Thus the revolution in psychiatry had only just begun, and as we saw with Sawbones from a couple episodes back, it takes a long while for change to happen in…

There's that famous Christian love in action!

Her complete non-reaction to the "prison fight" line was priceless. These friends are crazy about each other. And now that Holmes is more demonstrative (splashing out his arm as he invites her on a deep-sea voyage), she's left being the reticent one. It's perfect.

Doesn't democracy mean we need citizens who feel capable enough to think, debate, and govern themselves, without having to defer to experts all the time? We need some way to see the big picture, and the public intellectual was a model for that kind of confident, open citizenship. This view of 'expertise' in…

It's the CBS lawyers who come up with these names. There's a panel interview with the cast where Julianna Margulies nearly throws up, to laughs from the rest of them, at having to say the non-word 'ChumHum.'

I confess it makes me like TGW even more. Howard's been given more than enough reasons to be pushed out, but he still shows up for some comic chaos. Reminds me they're doing this all within the shaggy-dog boundaries of network TV.

A-. If this is the direction regular case-of-the-week TGW is going, then I'm all for it. This baseline is beautiful. On the one hand, my sympathies lie, as usual, with Diane and her steely stare (which we got treated to after her talk with Kalinda), but then Will turns up with his machinations—formerly at the service…

Re: giving fucks about accuracy: "Capitol."

Excellent review. (As was this one.) Thanks.