“This cheerleading trophy. It’s like it’s eyes follow you wherever they go. I like it!”
“What’s his number? Oh yeah, 1-800-I’MDATINGASKANKYHO.”
My favorite special effect: the werewolf costume, aka Aunt Ida’s motheaten raccoon coat.
“I think you slashed in just a little too much Obsession For Dorks.” <— Cordy’s best burn
“I didn’t jump! I took a tiny step and there conclusions were.”
“Mein Furrier” is a real leap as wordplay and I respect it.
Why does anyone walk at night in Sunnydale, ever???
The Bronze must have incredible insurance.
“First they tell me you can’t kill elephants for ivory. Now I’ve got to deal with People For The Ethical Treatment of Werewolves.”
Success: child literally GASPED at the revelation about Oz.
LOL at Xander insisting he has an afffinity for werewolves and accidentally revealing that he remembers being a hyena.
It’s awfully brave/stupid for Xander to confront Larry alone given that he assumes that he’s a werewolf. (Related: Poor Larry! What a terrible person to come out to.)
People really need to stop advising Willow to do something daring.
I like how Sunnydale morticians just reflexively cover up vamp bites with a fetching, Birx-y scarf.
Buffy Violet Pleather Jacket Alert.
Aw, suddenly-decent-to-girls Larry.
First kiss! “A Werewolf in love.”
PHASES: Adorable and romantic! Many funny lines. Endearingly Worst Costume Ever. Lowering all of our emotional defenses, two episodes before we get to Passion.
(By the way, correction on earlier quote: obviously, I meant “splashed on too much Obsession For Dorks,” not “slashed in,” as appropriate as that is for the show.)
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Attention: I am watching an ep of SATC in which Miranda goes to a comedy club, where a sexist comic makes douche jokes. Who kidnapped her & erased her memory & replaced it with “comedy concert?”
Related: I enjoy the high-bitter ketchup-red mullet Miranda of S2.
It’s always been striking (& realistic) that unlike her finance-addled buddies, Miranda dated so many documentarians, editors, journalists & architects plus some lawyers & the occasional sandwich
Luv 2 have a plane speed up to take off—then stop, followed by an announcement that a generator didn’t work & we’re heading back 2 the gate… Better than the alternative, I realize, but YIKES
Pretty impressed by how chill everyone is on this flight, which has STILL not taken off—we deplaned after it went past 3 hours, waited at gate, reboarded, refueled.,. & now we’re waiting for the baggage crew? I was/am fully expecting a Liz Lemon/Carroll showdown in the aisle
On the one hand, I live on a plane. On the other hand, I am watching wonderful 30 Rock clips. “Noooo! Mortality!!”
I know little about Ukraine, but I watched Zelensky's TV show 3 years ago, to contextualize his meeting with Trump. This is a lighter piece, but it's useful to know his origins—it's as if Tom Hanks starred in The West Wing, then won the WH in a landslide: newyorker.com/magazine/2019/…
& if you don't want to read it, just to clarify: Z played a humble school teacher who went viral w/ a rant abt corruption, which got him elected President. The actor then ran for President, off that brand. I'm sure there are better pieces on this, so hook me up & I'll link 'em
I remain confused by the deranged pro-Anna final episode of INVENTING ANNA, maybe grifterella hacked into Shondaland and wrote the episode herself
Sad thing is, if instead of trying to sympathize with this fake, the show had steered hard into the satire of “hustle” & “bad bitches,” tech jargon & new age blather, it could have landed on a cool Millennial It’s A Scam Scam Scam Scam World VIBE
I keep thinking about how both Hamilton & Mrs. America offer a uniquely effective artistic model for political art. Take a lesser-known figure who is the linchpin of a revolutionary structural dispute—
Could be a villain, like Phyllis, or a flawed hero, like Hamilton... then exploit that odd premise to pivot out to a broader, richer ensemble portrait of real-life figures debating their way through the crisis. If you do it well, you skirt the cheesy glowing-biopic cliches...
But also, avoid the pedantry of a preachy manifesto, while still dramatizing the grandest ideals & conflict of the period, and if you do it well, it illuminates the structural moment that made change hard to achieve, instead of just A Person.