All in Television
Up until this episode, Agents of S.H.I.E.L.D. hadn’t yet found their own voice. The characters and plot were still heavily reliant on the timeline of the Marvel Cinematic Universe, and the relationships developing between the main characters aboard “The Bus” seemed either too shallow or too slow-paced. But with “FZZT,” we started to glean histories that deepened the way we view these characters and how they value each other in turn.
But with true British phlegm, Toast continues his work, meeting with his agent Jane Plough (pronounced pluff) who assigns him to do voice over work (no job is too small for him). At the studio, Toast discovers he’ll be working opposite his archnemesis and raging homophobe, Ray “Fucking” Purchase.
But it’s not just kids versus the world that makes this show special—and this episode in particular. The drama is also internal, but I guess after being born into a climate crisis and post-capitalist society, who kissed who and how are we going to overcome a surprise pregnancy sorta just seems easy. Or they make it look that way.
And yet, his youngest son Kevin (Fred Savage), curious and mystified by his father's line of work, seeks answers. The problem is: no one in his family seems to know.
Seeing “cool guy” Daniel accept an invitation to play Dungeons & Dragons, Sam, who has been trying to shed his “geek” identity, realizes he alone can define what is cool or not. Meanwhile, Nick has gone full disco.
The final line of the episode, given in voiceover and with an uncertain tone mentions that on this walk, she gets her period. But even though this episode ends on a finality, the reality is that she clearly leaves her quandary even more confused than when it began.
Arguably, “Thanksgiving” is the best episode of television to come along in quite some time. And surprisingly, main character Dev is merely a supporting player. It's also something to watch if you don't like sports and have had enough of Charlie Brown!
At the end, BoJack opens up to Hollyhock, explaining that his shittiness has nothing to do with her. She’s upset, but her desire to build a relationship with BoJack is at the forefront. Like Mr. Peanutbutter, Hollyhock cares about BoJack, but his mental illness doesn’t allow him to accept her love no matter how much he wants to.
Reality TV was just starting to enter popular culture and a fair bit of it was absolute trash. When people say “trashy” in reference to reality TV you think of dating shows with fighting and screaming and crying. These are guilty pleasure, junk food shows.
There is comfort in watching the same different episode night after night (there are 22 glorious seasons!). Many people are suspicious and have very good reasons to kill the victim. They have terrible alibis, every one of them. They always “went home alone.”
In Season 1 Episode 3 of Community, “Introduction to Film” Britta Perry (Gillian Jacobs) doesn’t paint a picture of a subject who’s painting a picture, per se. Nor does she address the viewers in any way, shape, or form. However, she does interfere with the fictional life of Abed Nadir (Danny Pudi) and it’s what causes him to dive deeper into the meta, bringing its essence to the forefront of the show’s theme and viewer outreach. This (in my simple, humble opinion) is the reason for the show’s razing: the over use of the meta that stems from a single episode.
When the Beaver’s finally meet Oxnard, he is exactly what every B-movie star should be—manly, action-oriented, booming voice. But unlike those stars, he is woefully uncoordinated, a complete tool, and ineffective in every way.
A distinctly British creation, Jonathan Creek manages to somehow balance between horrific, comedic, and mundane in a bizarre ménage à trois that one could watch forever. It’s not pornographic; it’s art. Or at least it’s the kind of teleplay smut that your weird friend calls art.
Only the audience knows of Issa’s preferred coping mechanism, and we’re protective of her. We were all nervous for Nathan’s opinion. We felt relief when he nodded and stared spitting his own bars as encouragement.
What’s truly amazing is the character study packed into one song-and-dance-filled hour. Forced to sing their deepest feelings under control of a demon named Sweet, Buffy and her friends bare their souls to us, finally confessing the secrets they’ve been keeping all season.
In some ways ATLA is the perfect show for where the world is today: lives uprooted by massive trauma; struggles to find ways of healing on the fly; acknowledgement of what’s been lost; fear of what might yet come; the mundane problems that can’t be ignored just because the world seems to be ending.
I am ten seconds in to Episode 1 and it appears Sam Wilson (aka Falcon) is getting ready for a funeral. No one puts on a suit and dress shirt in Marvelworld unless there is a funeral. He is also doing the sad gazey face thing. Oh, it’s Captain America’s shield! Aw, the shield has its own bag. Do you think the bag is comic book canon? I bet at least twelve (12) videos on YouTube can provide me guidance on this question, and I guarantee you that, due to my MDD (Marvel Disarrangement Disorder), I will eventually watch all of them. But I digress.
Crumble reads the script aloud for herself. “I want to help students understand why they feel so lost. It’s just biology. The amygdala develops first in a teenager’s brain. It controls emotions and all the bad decisions that kids make.” She agrees with the sentiment. But she can’t reconcile the bad decisions she sees herself making in these visions.
Jon Sherman was in his early 20s in a building on Tujunga in Studio City, in office space used by the network, the day the news hit. But he wasn’t privy to all the details of the devastating death, as he was preoccupied with finishing his writing for MTV’s first original scripted live action drama series. “I don’t know what I’m doing exactly, I hope someone knows what they’re doing,” he remembers thinking. “And no one did. What am I doing here? How did I get here? How do I get out?” Two months later, “Dead At 21” premiered.
Originally elected by the cardinals as a compromise candidate that they thought would be easy to control Pious instead takes charge of the Catholic Church as a radical reactionary that seeks to bring brimstone and fire back to the Catholic church. He launches a campaign to teach the Catholic faithful that it takes suffering to find God, and will trample anyone inside the Vatican that stands in his way.