Bastet

Yes! Henry and H.B. Vanessa and Maureen (and Michelle and Little Billy, because of course the best friends' same-age kids are going to grow up together). Hamp and Billy. The Four Musketeers. Bridget and Kat. Ed and Ross. Holly and Michelle. Maureen and Roger (this was great on its own, with the bonus of how much it bugged Ed and Holly). Ed and Holly had another great friendship, even though there were times it was more than that. The way the show did friendships was one of my favorite things about it. It was one of the things that made GL seem a bit more realistic than the average soap. Also things like Ed and Maureen getting into bed, having a short conversation about their respective work schedules the next day and thus who'd pick up Michelle, and going to sleep. It wasn't an argument, it wasn't foreplay, it was just a making tomorrow's game plan before we go to sleep conversation that couples have. Most shows don't bother with stuff like that.

I recently re-watched Dances With Wolves, and each time a scene started and I remembered, "Oh no, this is when [character] gets killed," I tensed up. Timmons ("Please don't hurt my mules" <sniff>), Stone Calf, Cisco, Two Socks -- my heart just hurts more and more with each loss.

They were actually both 17, just a month (her) or two (him) shy of turning 18 (so her parents had to consent; I'm not sure if his did or if he was emancipated). Child actors lead such inherently bizarre lives, and too often the adults in their lives fail to act as a reality check, so while it was crazy, I'm not particularly surprised those two both thought felt like "older souls" than they were at the time. (And, both on screen and off [as described by her costars], Rachel Miner was preternaturally mature.) At least they were wise enough not to have kids in the brief time they were together; it wound up being this dumb but rather harmless thing they did for a couple of years. I'm glad to know Miner has been getting back into acting, even auditioning in her wheelchair. I've only seen her as an adult in two things - the awful movie Bully (when she was 20), and a good episode of Cold Case (when she was 30). She's no "wow" actor, but certainly good enough to sustain a career, so I'd really like to see her MS not put the kibosh on that. The Holly/Michelle storyline is a favorite among all my years with GL. They both hated the world and just wanted to be left the hell alone, but Ed - trying to navigate the logistics of single parenting - kept asking Holly to watch her. They put forth minimal effort at social niceties with each other, and wound up appreciating the lack of tip-toeing, ultimately developing a relationship they both desperately needed that helped them through a difficult period in both their lives. I know both Maureen Garrett and Rachel Miner (who adored each other) were quite irritated the writers dropped that relationship, and I agree - it's one of the many things that annoyed me as my viewing gradually came to an end.

I only remember the first Marah, and she annoyed me (as any spawn of Reva and Josh inevitably would, heh). Rachel Miner was a terrific child actor, so I enjoyed Michelle, and the kid playing Little Billy was okay (sometimes awkward, but sometimes natural), but I mostly had no use for the kids. And the actor playing Fletcher's son (Ben?) was awful!

Right - Ramón*, Renée, and Emilio all use Estevez, only Charlie (whose birth name is Carlos) uses Sheen as a stage name. But Charlie went by Carlos Estevez for one project, Machete Kills in 2013. And Ramón went by Sheen for a few years in the '80s, but before and after that has always been billed as Estevez. *Ramón is named after his father; that's Martin Sheen's birth name.

Yes, there's always an inherent potential problem in setting shows in that time period, where even when (such as this project) you're not aiming - which I firmly believe some show runners have at least subconsciously done - to use that setting as an excuse to show your white, straight, male characters (around whom the show is centered) being racist, sexist, homophobic assholes - shrugging it off as "it was the times, man" without properly examining the impact of that time on the characters who aren't white, male, straight, etc. - there's still the issue of major segments of the audience sitting there in their privilege, watching the blatant discrimination "back in the day" and acknowledging yes, that was awful, but congratulating themselves on how isn't it so great we're past all that (or, for non-southerners, isn't it great we were never that bad) without examining how many things haven't truly changed. I may give this reboot a watch, as I am indeed interested in exploring the situations - at home and within the larger society - covered by episodes about the original middle class white characters in a generic CA/NY-type suburb as they were instead experienced by a middle class black family in an Alabama suburb. (And I'd love if the gender-based issues and feelings of the female characters were far better explored than in the original.) But I'd be even more interested if there was also a show where the "coming of age" the black narrator was looking back on happened around 2000 instead, and in a "blue" city. A black adult looking back at what was going on in her/his formative years in the recent past of a diverse general area (in what is probably still a largely segregated individual neighborhood) challenges the audience members whose experience of the same area in the same time was different because of race in a way that "dude, the '60s south was really shitty for black folks" doesn't. Basically, I don't fault this concept for a show, I just wish it was part of a much broader spectrum of programming. Mixed-ish looks back on the '80s, but most "modern" day period pieces still go back further.

This is what happens when I'm not looking at the TV, just hearing an unfamiliar commercial as background noise: “Does hairballs run in your family?” That should be “do”, dumb ass. But, wait, what? Why is a commercial addressing cats rather than their owners servants? [Turns to TV and sees before and after pictures of heads] Oh! “Does hair loss run in your family?” Yeah, that makes a lot more sense.

Oh, just reading the name Lucy Cooper made me twitch. She was so annoying! I hated everything about her, right down to the way she said Alan-Michael's name. She was but one of the many, many reasons I stopped watching around that time (I think I quit in '95). I had no memory of a Brent/Marion character, then vaguely remembered Lucy being raped and wondered if that was him, so looked him up. Oh, dear; that sounds like a total clusterfuck of a storyline. I had completely forgotten (I didn't see it, but remember either reading about it) they killed off Nadine! Fuck that noise.

Under a plea agreement, yes. At trial, a criminal defendant has the right (under the Sixth Amendment's confrontation clause) to confront her/his accusers. This is why witness statements that have not been cross-examined (e.g. depositions) are not admitted as evidence, nor are preliminary hearing transcripts even though the witness was cross-examined*; the witness must instead come testify at trial -- take the oath, be cross-examined, and have her/his comportment observed by the jury. But under a plea bargain, the parties skip discovery (which is usually when previously-confidential witnesses are identified, unless it's a witness protection situation), let alone trial. *The unavailability exception to this - where prior testimony can be admitted at trial when the witness cannot testify - is the foundation of "Return to Sender", where Emma is able to arrange a preliminary hearing in the Stroh case, so that Rusty's under-oath, cross-examined testimony will exist and be admissible at trial should he be unavailable (meaning, dead) by that time. (The exception was also referenced in "I, Witness", where the fence framed Lloyd for murder rather than just offing him -- Lloyd had testified at a preliminary hearing, so if he was killed, that testimony could be admitted at trial. But if he was a murderer, his credibility would be shot to hell.)

Yes, I love her reactions! (And that they cast a black woman as the tax attorney.)

Yeah, based on her son's statement and the fact this very thing has happened before, it's the best guess. It's heartbreaking to speculate as to her final minutes - the fear setting in upon becoming exhausted from the effort and realizing she might not be able to get them back to the boat, the relief at hoisting him up there to safety, and then going under. It's so terribly sad that this happened; I don't know her, I've never even seen her in anything, but it makes me cry that someone only 33 years old was having a nice afternoon out on a boat with her child, FaceTiming with family, and then, suddenly, dead an hour or so later. At least the waiting for her body to resurface is over for the family, but the condition after being submerged in water for five days is another horrible thing to ponder.

I love all the commentary on how this is ranked far too low. Same with "Easy Loving". Oh, fuck this song. I mean, fuck Toby Keith, period, but this repugnant song is the perfect representation of why he can go find a fire to die in any time now. Great commentary on this one, too, especially: This is some terrific shade: In fact, they're pretty much on fire for all ten; the commentary on "Redneck Crazy" ("a leering, miserable, misogynistic and downright creepy song reeking of entitlement") and "Why Didn't I Think of That" ("Cutesy and twee and it makes my diabetic pancreas hurt") is great, too.

"Whip me, beat me, take away my charge card - NASA is talking!" That's the film I associate her with, too.

I'm the same! It's getting rather slim pickings in my fridge (I limit my shopping to once every 2-3 weeks during the pandemic, as the numbers are still atrocious here in L.A.). I made some seafood pozole verde a few days ago that I've been alternating with turkey wraps and egg white scrambles for lunches. I grilled a ribeye steak for last night's dinner (even though I just had a cheeseburger last weekend for 4th of July, so I may start mooing from the increased beef intake) and had that with artichoke (and a garlic wine dipping sauce) and the last mixed greens salad I could cobble together. So tonight I let someone else do the cooking and Thai food is on its way: chicken satay, som tum salad, and pad ped seafood (shrimp, squid, and mussels). That will give me leftovers, but it will still be time to venture out to market tomorrow as I have plenty of meat in the freezer but the fresh produce is pretty much gone.

This conversation between Laurie Nunn (creator/exec producer/writer), Aimee Lou Wood (Aimee), Patricia Allison (Ola), and Laura Bates (founder of Everyday Sexism) embedded in an article posted in another thread about the origin and impact of Aimee's sexual assault storyline is well worth the time:

It was all in the editing, but I loved the WTF?-style "moo" shown when Dr. Brenda said one of the cows they'd trapped in the chute was a heifer so she'd just be vaccinating.

I had this on as background noise; it remains something I'll only watch if nothing better is on. The Pol clinic continues to employ the most rudimentary treatments in veterinary medicine. (Which, again, is great for those who - given the dearth of services in the area - would otherwise have to choose between proper treatment and nothing. But damn; there doesn't have to be such a discrepancy.) And Dr. Pol still doesn't know the sex of his patients; it's a seemingly little thing, but that would bug me as a client. With treatment available for cheap at this factory farm of veterinary care, how do you let a growth form on your cat's face for months before bringing her (or him; I join Dr. Pol in not remembering the sex, but I don't have a file - or animal - in front of me) in? Waiting for a paycheck and/or day off even under those circumstances, sure. But she didn't notice how extensively the cat was scratching in order to realize something was going on in the ear, so that the scratching actually created a visible external wound and it still took months to seek veterinary attention. At least Dr. Brenda doesn't rely on the "I can tell by feel/the animal's movements" test of whether a limb is broken and uses one of them newfangled x-ray machines to find out. But, holy shit, the shove a cow in the chute, unsedated, and clamp off its balls to eventually shrivel up and fall off method never fails to make me cringe. That can't really be the best farm practice, given what goes on in the most basic mobile neuter clinics for cats and dogs. Did she say that cattle farmer was two years shy of turning 90? He did not look 88! Holly's transformation was lovely. As was Diane and Jan's reaction to their latest grandchild. Charles and Beth both annoy me in several ways, and I think a man who's "a child at heart" is going to be a problematic co-parent at best, but they seem well suited and devoted to each other, and thrilled to be parents, so I wish them the best with little Abigail.

That's exponentially less likely than drowning. Snatched by whom? How? For what purpose if there's no ransom demand? This is life, not a crime drama. Drowned bodies routinely take days to be found, and this lake has particularly low visibility and extensive undergrowth in the area the boat was discovered that will extend that process (and hers isn't even the only body on this lake to take a while to find). Just as easily as she could have, say, found her feet entangled and become submerged is how readily such entanglement - and limited visibility (inches, not feet) combined with searchers' mere best guess as to her last known location based on where the boat was found - could delay recovery. I just don't understand looking for fantastical storylines in place of what seems to be an equal parts traumatic and typical drowning.

I was at my parents’ house last weekend (for a rip-roaring 4th of July barbecue consisting of just the three of us isolated folks), so I missed “Flight Risk”; that case is a little weird (I can never quite figure out the timeline of the cousin lovin’), but I love the start of the long arc of Julio finally being made to deal with his anger that so easily turns violent. It continues in “Personal Day”, the second case in row in which Sharon has to yell at Julio to settle down when her usual knock it off look and calming hand isn’t enough. Tonight I finally took proper notice of the fact Andy also waves him off and later physically restrains him; in exploring Julio’s anger issue this season, we also see the professional growth in Andy’s own form of hotheadedness. It’s a good Julio episode overall, especially his relationship with Ana’s brothers, I like the combination of him being the cop who (seemingly) put away their teenage sister's killer and the cop who's interrogating them on suspicion of murder, because he wants to solve this murder, too, no matter how he felt about the victim. It makes his eventual, posthumous realization Dante was indeed innocent particularly moving. As I said last time, I wish they’d followed up on Julio's reopening the homicide cases of Mrs. Gomez’s two sons (just something like a line in a later episode indicating he’d solved one of them). He’s great with her, even when he still thinks Dante had killed Ana; so much of his life and career is rooted in hating gangs, but he understands how she feels as a Latinx ignored by the police (I love her having no time for Sharon’s platitudes), and – presumably because his own gangsta brother is in prison while their mom makes excuses – that she loved and mourns her sons even though they’d got caught up in the life and been crappy people. Dante’s story is poignant (while atypical, attributing to incarceration a rehabilitation element that simply has not existed, especially for people of color); confessing to a murder he didn’t commit actually wound up being the thing that saved his life – he survived prison for a span of time in which all his homies wound up dead or three strikes and locked up for life (as Amy said, 17 years is a century in gangland), and actually thrived, getting an education and coming out better than he came in. He was really trying; he wanted his grandma to die with the peace that he not only was never a murderer, he was also no longer the aimless criminal he used to be. Him taking care of her and going out in search of someone willing to hire a felon with no experience makes his murder by that coward Cesar all the more awful. Hector Zamora’s trajectory is another simplistic but moving commentary on the hardship, futility, and inevitability of gang life. When Hector says “What a wasted life” upon learning of Dante’s death and laments that "the only real friend I ever had" saving him from a third strike lasted a whole seven months, it gets me. It’s also a good Provenza and Sharon episode; their connection via Rusty is always nice. I like his “For what you’re about to hear, I apologize” when she’s about to get blindsided with the news of Sharon Beck’s return, and I love his I’m screwed reaction to her “thanks” for his “help” in this situation. Rusty’s awkwardness during the meeting of the two Sharons is spot on. As is Sharon Raydor’s fundamental attitude about all this; she has grave doubts about Sharon Beck’s willingness to get serious about her recovery, and thus a very real fear of Rusty being devastated again when he’s just stabilizing, but she truly wants her to succeed for Rusty's sake. That this desire is even more keen because her other kids have been on this same roller coaster makes it quite powerful. I like her assuring Rusty (after her wonderful “Ah [I knew it]” reaction to eliciting that rehab was court ordered) that how his mom got there isn’t as important as what she does with it. I also like their conversations about what role Rusty can/should play in his mom’s recovery, including that Sharon doesn’t explicitly draw comparisons to her/her kids' experiences with Jack – in this early, emotionally-fraught stage for Rusty, she can just be the voice of reason and support without shifting any focus by getting into how that comes from experience. (Although, I would have quite liked hearing a few stories over time about Sharon’s logistical struggles as a single parent trying to balance the emotional amalgamation of addiction is a disease, I want you kids to have a relationship with your father, and I am so blindingly angry at that asshole for perpetually choosing a bottle and then a card table over us; eternally fuck James Duff’s utter failure at properly developing his main character). I especially enjoy, “Do you know what enabling means?”/ “Oh, yeah” and “There has got to be something in all of this for you, too.”/“There is.” Sharon and Rusty are so lovely together. Lastly, it never fails to impress me how good, physically, the casting of Ever Carradine as Rusty’s mom is; the similar nose and eyes really work as mother and son. On a lighter note, I think this episode contains Sharon’s only Andrea-induced eye roll; it’s not about Andrea, just the circumstances, but I enjoy any and all of Sharon’s eye rolls. I also adore this snark from Andrea to Provenza: When he protests the liquor store robbery footage doesn’t prove anything by saying, “A shadowy figure that’s 5’10” could be anyone, me,” she responds, “If you were 5’10.”

It's there. Here is the WW thread as it existed at the beginning of April, 2014 (the site ceased operations several days later), and here is the archived WW forum (from when it was put on "permanent hiatus" and reduced to a single thread of discussion).

Yeah, I've never done that. Originally, I had two for Maddie and Baxter (one upstairs and one downstairs, in a townhouse), but when we moved into my (one-story) house, there wasn't a room in addition to the half bath that I was willing to have a litter box in. They never showed any signs of being bothered by that (I scooped twice a day). I hear you! I was fine having one in my office for the time Riley needed it, precisely because she needed it, but I was so happy that was temporary and may have done a little dance out of the room with it when I retired it.

That's called a day ending in -y in my house. (Well, the food and water sharing; she's not really a kitchen counter cat unless she's using it as a springboard to her annual inspection of the top of the fridge.)

I hope they don't think oh, we already did an abortion storyline with Maeve and thus rule it out for Jean. There can be more than one per show! It would be nice to show the reality that women in a huge variety of life circumstances choose to abort, not just poor, young, abandoned girls like Maeve. I'd quite appreciate seeing a mature (and then some; how the hell old is GA supposed to be playing that Jean can even accidentally get pregnant in the first place?), stable woman who's already about through raising a child decide I had no desire or intention to become pregnant at this time, so I am choosing not to remain pregnant.

I've never noticed a sandwich; I've seen the commercial several times recently and what drives me nuts is that they're apparently too stupid to turn off the water/power to the malfunctioning fixture/appliance, instead just grinning like idiots and apparently letting the damage worsen until someone approved by their lovely little insurance policy is brought in to fix it (and good luck getting coverage for the portion of the damage sustained due to that failure to mitigate). Like you said, these are exaggerated scenarios for "comedic" effect, but, like you, I don't find it funny. Especially since both homeowners portrayed as so ignorant and inept in the face of a problem are women.

I think because they already use a litter box in the basement, this adjustment will be an easy one; they'll realize the one in your office is gone, and the basement is now their sole bathroom. I did that with Riley. She came to me as quite the scaredy-cat, so for the first 8-9 months I had her, she had a litter box in my office (which I hated, but motherhood sucks sometimes) in addition to the one in the half bathroom, because the office was her "safe room". It took much of that time for her to be completely at ease in the entire house even when I wasn't home, so that it was fair for me to take the office box away away as there could no longer be a situation in which she was afraid to go to the other side of the house (she was pretty good about it at six months, which is when I was able to get the bowl of food out of my office and have her eat only in the laundry room, so I gave her a little extra time to be sure). She really didn't react at all.