I'm very sorry, but if you think "Tom's Diner" is an awful song, I don't trust your gastronomic judgment either.
Also, three guesses as to WHY Holsten's jukebox is broken.
I logged in specifically to write about To Die For! Well done, Sir.
I'll also admit that the first time I heard Moby's "Extreme Ways" kick in at the end of The Bourne Identity I got shivers. This is definitely a case of the movie elevating the song, but still.
Thing is, the idea itself was a good one. (Remember that L&O episode where there's an execution and everyone just takes a day off?) But it should have been the season's episode 5 or 6. At this point, nobody cares about the characters' back stories - we've accepted them as dour ciphers. All we care about is that there's only two episodes left to connect that annoying politico to the A-plot.
I admit - at first, I thought "TWSS" was your strange way of onomatopoetically rendering "sizzle."
I love how openly Team Cat the cameraman and his friend are.
I pretty much grew up on R.E.M., but now I think New Adventures in Hi-Fi - which came out when I was already in college - might be one of their two or three best. (And of the IRS era, I actually love Lifes Rich Pageant the most). And post-Bill Berry, well... Up and Reveal have a couple of great songs each. The only truly and totally irredeemable thing they did is Around the Sun - and they seem to have recoiled from it in horror themselves. So there's definitely hope for the new one.
Fuck Yeah Transportation
And on cable news, the answer is "God, we hope"
And now, the real cliffhanger: why is Harry Crane such an inscrutable weirdo all of a sudden?
Considering that John Slattery is directing the next episode, having that episode center on Roger's suicide sounds exactly like something Matthew Weiner would find amusing.