somebody went through a divorce.

tillikum chillin’ in front of my bedroom door. we’re getting closer, people!

am i here for this? i dunno, i think i may be here for this.

yuk-yuks at beauty bar tonight.

fancy fixings at the staff appreciation lunch. i mean, those were RUFFLES, so clearly we are appreciated.

if you’re wondering why i’m walking with a swagger*, it’s these new boots.

*limp

SHAKE at the Skull. can’t stop, won’t stop. (at Laughing Skull with Todd Glass, 06/07/14)

barthel:

The first time I saw an ad for the new FX show “Tyrant” that wasn’t just a shot of a dude in the desert I shouted “DYNASTY BUT WITH A MIDDLE EAST DICTATOR?!?!” and was totally on board. I mean, maybe that’s not what it’ll turn out to be, but I’m getting an extremely strong “Dynasty” vibe (power, money, family, prodigal sons, face slapping) from the ad.

The most surprising thing about contemporary “prestige” television is that it descends directly from prime-time soaps like “Dynasty” and “Dallas.” Back in the 80s, the people taking TV seriously wouldn’t have predicted that. The important shows back then, like “Hill Street Blues” and “St. Elsewhere,” were episodic, not serial, which is to say they told a self-contained story every week, even while some larger story was being slowly developed. They have modern equivalents too, but they’re shows like “The Blacklist” or “House,” good-to-great programs (I still love House) that are considered thoroughly middlebrow by critics. In contrast, shows that don’t have complete story arc every episode are considered the big deal. Soaps won.

one of my favorite things about watching “mad men” is watching so many people tie themselves in knots to explain the SIGNIFICANT IMPORTANCE of the show, then saying, “yeah, but it’s basically a soap opera.”

come back to the five & dime, “as the world turns.”

all i need in this life of sin is me and my dogfriend.

just got to atlanta - eating lunch with the folks! #tbt #TimeBombThursday