In which case, it's a bit surprising nobody mentioned Lebowski. Late '90s film, set in the early '90s. It didn't make the splash Pulp Fiction did on release, but it's arguably become one of the touchstones of '90s cinema. Fargo might be (might be) a better movie overall, but Lebowski's got much longer legs . . .

Who's the "we" you're talking about. I loved the hell out of Three's Company and WKRP . . . and Welcome Back, Kotter!

When I was sort of 10-14 (long long ago), a regional cable station showed two eps a day around 7 o'clock, and I watched it pretty religiously. Whenever this ep came on I was so happy. Brilliant when he falls behind the bar and you think the act is over . . .

I think the Trio work really well, but that, like much of S6, it takes a re-watch or two to see that. After the magnificence of Glory and with the distant memory of the Mayor and Spike/Dru/Angelus in mind, there's an expectation by S6 (at least there was for me) that the Big Bad is going to be HUGE . . . and then it's…

She was president of entertainment at Fox, and she brought Firefly there. But she was also in charge of many of the decisions that most fans blame for the show's poor ratings - mainly airing eps out of order, and moving it to Friday night.

It's worth mentioning Gail Berman - whom a lot of Whedon fans despise because of her role in the Firefly debacle. But in the case of Buffy, when the film script was still getting shopped around town, it was Berman who recognized its potential as a TV show. She was working for Sandollar productions (a Dolly Parton…

Also, it makes more sense as her "real" name in the film, where her parents (IIRC) are sort of consumerist So-Cal yuppie types. But it's kind of hard to believe the Joyce of the show would have named her daughter Buffy.

You fucked it up, Walter!

Are they not? I always thought they sort of knew the commentariat on this site was what separated it from all others - especially considering how many have stuck with it as the content quality has plummeted.

For how collaborative Marsters seems (and I think generally is), it seemed a weird way to kick off the interview. But yeah, the Ketchmer story's great - it's cool how much clarity he had about what he was doing and both the short-term and long-term effects of it . . .

There's another Marsters interview up somewhere this week, and he talks a bit about his British accent. He says it was actually pretty horrible - apparently he got the gig pretty close to production, so didn't have a lot of time to work on it. He gives ASH tons of credit for helping him shape it into what it became.

Although Nick Marck, the director he sort of disses in his story about Beneath You, actually did great work on the show - including directing Something Blue and Fool for Love (two great Spike episodes), and being the credited dir. for Conversations with Dead People (although I think that one had a lot of crew pitching…

There's another Marsters interview up somewhere this week (so much Buffy stuff!), and apparently the answer to that is, no, it was not safer. He talks about basically have to bleach his hair every 8 days for years and how painful it was. Sometimes there were sores on his head, and they had to go ahead and bleach it…

Fool for Love is one of the series' best . . . the combination of acting, back story, film style. When it all lands on that scene with him on the subway and he looks up from killing the Slayer and keeps telling his story . . . wow. And then Buffy hits him with the "you're beneath me" line . . . double wow! And then he…

"Randy"?

The first third of S7 is great - Same Time, Same Place is really good, Help is strong, Selfless is amazing, and Him is tons of fun. After that . . . Showtime is pretty great (with slightly wanky logic), Get It Done is really good on lots of levels (although it includes one of Buffy's hardest-to-swallow speeches), and…

Yes! On first viewing, it can seem like she's re-learning the same lesson (she needs the group!) each season from 3 on, but she's really learning different facets of it, and different components (forgiveness, the ability to ask for help, selflessness, etc.). So that by the time she goes and saves the slayerettes in S7…

One of the nicest moments of S7 comes at the end of the (mostly awful) Empty Places, when Buffy is not at all resentful of Faith, but rather gives her advice and wishes her the best.

His speech to Buffy and Angel (in "Choices"?) about how doomed their love is incredible.

Scott's also shown that, when he wants, he can put together a really nice, small, character-driven film as well. I really liked when he was moving back and forth between one or two blockbusters, and a smaller more personal film every few years.