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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Ronnie: I want to first begin by saying “Oedipus Wrecks” as a title has also been used on Wings and most recently Criminal Minds. So that’s the level of “clever” we’re dealing with here. Anyway, this episode closes the book on the Lois amnesia saga. Does it do so in an elegant fashion? Well, I
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Welcome to the 50th Law & Ordocki! Ever since September 8th 2014, this has been the only source for critical reviews of the Law & Order franchise generally and Law & Order: Special Victims Unit specifically. I know, I know, how did it take me so long to get here. The point is, I’m here
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