Chris: Man, I don’t understand TV. I know that here at the Lois & Clark & Chris & Ronnie home office we’re supposed to be experts in the field. Why else would anyone possibly want to read about a 25 year old show that no one liked in the first place? The only way any
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Ronnie: It took us over a year but we’ve finally reached the point the show was setting up, arguably, its entire run: the wedding. A lot of times TV shows have the trouble of knowing how to mine conflict when its main set of male/female characters becomes a couple. Fortunately, Lois & Clark is not
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Chris: [Clapping] All right, guys, let’s bring it in, come on, huddle up now, let’s huddle up. Okay, I’m not gonna sugarcoat it, that last quarter was rough. The first two quarters weren’t exactly picnics either, but we gave as good as we got. But then things got away from us. Last quarter was more
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Ronnie: Welcome to Lois & Clark & Chris & Ronnie, wherein we take an analytical look at a show with almost no lasting cultural footprint and really we’re more than halfway through so don’t question why we do this. That’ll cause us to question why we do this and there’s nothing good coming from that.
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Chris: Hallå my friends, and välkommen once again to Harriet & Max & Chris and Ronnie, the internet’s number one destination for trenchant analysis of the works of Ingmar Bergman mixed with Seinfeld references. Today, we’ll be looking at Through a Glass, Darkly, Bergman’s 1961 treatise on madness, faith and lust. It’s the first film
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