Ronnie is actually enthusiastic for once. He’s on drugs in case you wanted an explanation. It sure has nothing to do with “Middle Man” itself, a miserable torture porn excursion smack dab in the middle of Season 6 that pits a lone exotic dancer against a coterie of rapist dipshits, one of whom was a
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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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Not a Criminal Minds episode, but Gotham Knights fits comfortably in the Deliver The Profile remit by being poor television badly told. Why do they keep making Batman shows without Batman? Who the fuck is Turner Hayes? Where’s the Robins anybody cares about? The CW’s latest and least greatest foray into cheap superheroics plumbs new
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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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Chris: No time for a clever opening this week on Lois & Clark & Chris & Ronnie cats and kittens! Today we’re looking at the conclusion of the “Lois and Clark Get Married but Actually No” trilogy, and as that’s L&C’s first three parter, it’s also L&C&C&R’s first time we couldn’t cover a whole plotline
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