@Scrawler2:disqus And in fact, he wasn't the showrunner on Firefly, either.  Tim Minear was.

@avclub-9cbac99b96b86db11c3cb9501e695e31:disqus I don't really buy the rumors.  Whedon has rewritten heavily on every show he's ever done, especially for the early episodes.  And the rumor more specifically said that he had to do a page-one rewrite an hour before the table-read… which is a literally impossible task.…

Also worth noting that I believe none of the executives who developed and greenlit MM and BB are at AMC anymore.

I'm sorta of two minds on this one.  I don't watch Modern Family, but I think there's a good argument to be made for the value of having gay characters who don't struggle because of their sexuality.  Essentially, creating an aspirational scenario in the hopes of normalizing it (for example, David Palmer never having…

You can also tell because the curbs on the sidewalks in Los Angeles/Pasadena are higher than in any other city I've ever visited. Instant giveaway for me in any show: the street curbs (other little things like if they're painted red or have the address numbers painted on are clues too, but not so definitively; LA does…

The only comparable one I can think of would be My So-Called Life, in which the parents were my favorite characters and storylines (though I just watched it for the first time last year, so maybe it's just my point of reference).

@avclub-4f18f486a356810b3ef8008243bcba7a:disqus A scene can be necessary and still poorly done.  I don't think I'd say the scene was poor, but compared to the caliber of stuff BB usually does (see even the comparable Hank/Skylar scene earlier) I would agree it was weaker.

I dunno, I'd be kinda bummed if the last eight episodes got rid of BB's trademark pace and humor and just became lean, fast-paced plot machines.  The show has always had time to slow down and have fun.  Why stop now?

I'm going to pretend that I didn't have this thought during the scene, too.  Because that would be really lame.

I don't particularly care for Weeds, but I would say that in the time in which it premiered, yes, it was a piece of the TV renaissance.  It's very easy, now that the consensus opinion has turned on the show, to look back and pretend it never mattered.

Sooo you're annoyed at how much the AVC loves BB, and also you're annoyed at how they're criticizing BB?

@avclub-1281c02fa3b6de71a7896cda7f879c0d:disqus He's a very savvy viewer, he definitely got that this was the point of the whole thing.  But for him, to borrow from Ebert, it wasn't a point worth following/making for him.  He knows horrible people exist, he knows they do horrible things, and the trade-off of seeing…

"I want to see you cast a black guy because he's right for the part!"

My brother watched three seasons and stopped.  He's fine with dark—he just couldn't continue watching a show where the main character had lost any pretense of trying to be good, at least.  But man, he tore through those first three seasons.

I adore Hannibal, truly I do.  But if it came down to Hannibal or Pushing Daisies… sorry, Will Graham.

I contend that one of the best three-episode runs in the history of TV is MIA, Leap Home 1, and Leap Home 2. Heartbreaking, every single one of them.

I'm really surprised MIA didn't make it anywhere on this list. It's one of my favorite episodes of television ever. When Georgia on My Mind starts… oh geez. Unfortunately, the DVD replaced it with muzak, but Netflix has the original soundtrack.

Yep, I'm more excited about this than I have been for a project in a long time.  And directed by James Lapine, erstwhile Sondheim collaborator.  Sounds pretty perfect, all-told.

One of my favorite episodes of TV this year, entirely on the strength of the Laurence Fishburne and Gina Torres. That final scene of them together, as well as the scene where Jack figures it out… beautiful.

dominated more by emotional reactions than high-stakes drama, filled with basically good people trying to do what’s basically the right thing.