"Kids, we just have to learn to accept this. Like one of those stories on Dateline, where a family member suffers a horrible accident and becomes a burden on everybody. Sure, they pretend to be happy, but they're dead inside. They're dead. And that'll be our lives."
— Lois, Family Guy
"Peter Engelís productions (California Dreams, Hang Time, City Guys) are cultural touchstones for at least an entire generation, of which, Saved by the Bell is the most interesting and most well-remembered. Essentially a weekly, 22 minute morality play, painted in broad, day-glo, strokes by a gurning cast, it plays like the grand emotions of the teenage years it portrays, with an audience who whoops and woos at every hallway zinger and peck on the cheek. Bayside is a world where the bad kid who takes up smoking will be dead from lung cancer within the same day, and where never-before-seen characters appear as heavy-handed moral-cyphers, greeted like old friends, never to be referred to again once the credits roll."
"Peter is the sort of person who will try to mind control his fiancee to make sure she does what he wants. No matter how much you handwave away the 'but she wasnít mind controlled when she agreed to the proposal,' you still have Sarah Jane professing her genuine love to someone who fucking sci-fi raped her, which, no. Just no. Weíve praised The Sarah Jane Adventures in the past for its ethics, but this is absolutely horrific. There is no standard whatsoever by which knowingly attempting to covertly mind control your bride to be is not horrific abuse, and this story normalizes it so that the abuser can get a stirring speech about how Sarah Jane made him into a better person. Itís absolutely appalling."
"Radio Flyer pushes so many buttons I almost wanted to start pushing back. One of the things I resisted was the movie's almost dog-like desire to please. It seems to be asking, how can anyone dislike a movie that is against child abuse, and believes little red wagons can fly? I found it fairly easy. The movie pushes so many fundamental questions under the rug of its convenient screenplay that the happy ending seems like cheating, if not like fraud."
"For about the next three minutes, we watch Forrest basically torture Big Mike. Since all of Seagalís 'characters' are utterly unbeatable, we know that Big Mike wonít even be able to touch Forrest as he slowly decimates him... Then, in one of the most amazing jaw-droppers in movie history, Seagal confronts the bloodied, brutalized and weaving Big Mike, now just barely conscious. 'What does it take,' Forrest asks his victim, 'to change the essence of a man?' Big Mike answers, 'Time,' and then begins sobbing. 'I need time.' Seagal nods sagely. 'Me, too,' he replies. (Personally, I need an antacid.)"
Kristoffer: ... And know this, as the swallow twittered beneath the eaves, this is not adieu, but au revoir!
Finur: Thanks for your words. May they be your last. Thanks for sentimentality so nauseating that no living creature could possibly take it seriously.
Ravn: ... *SOB!*