15 thoughts on “There are two kinds of people”

      • I did love that show. It was really great. (And yes, I absolutely read the quote in his voice)

        • Was it “Psych”? I’m in the middle of binging the show, and that quote strikes me as very Sean Spencerish

            • Ah, that’s another one on my to-watch list. I only got to see an episode here and there when it was first on, but there were indeed funny and fun.

              • Ooh, where have you been? 😉
                CASTLE is a joy.
                A (rich) nerd mystery writer forces his way into a competent police murder unit and proves to be…useful…
                Much to the annoyance of the pros…
                Great onscreen chemistry between Nate Fillion and Stana Katic.
                Last season lost a lot but the rest of tbe seasons were uniformly good. Nary a miss or shark in tbe writing.
                (The occasional Poker games are a hoot. And to boost the show they had somebody ghost write the real world books he wrote in the show. Pretty good ones, too.)


                • I no longer remember what the deal was with my schedule that kept me from watching it; it was just one of the shows that made me glad TV series became available on DVDs and streaming.

                  I’ve heard that Castle is good through the penultimate season, and I should skip the last season. And now I have confirmation that the hardcover I glimpsed a little while ago really was connected to the show. I’ll add the Kindle editions to my check-it-out list.

                • I talked myself into watching the first two.
                  Still works.
                  Title of tbe second one: Nanny McDead.
                  Let’s hear it for HULU.

                • I’d just add that they did an episode that is one of the best time travel stories you’ll see on TV (if you want to believe the evidence).

                • Mike Hall said: …the best time travel stories you’ll see on TV (if you want to believe the evidence).

                  Castle, season 6, episode 5, Time Will Tell

                  Just watched the episode. That was scary. I can use that for background.


              • The best writers are always fictional characters.

                I bought the first season of Castle, it’s short and contains all of the elements of Castle that make it work.

                – Castle, Beckett, the mother and the daughter, the world they live in, all make the story.

                The cinematography of the pilot episode is amazing. It captures the driving nature of Beckett as she strides down a hall. The different mysteries in each episode are only window dressing. People tune in to see, “Will they or won’t they”.

                – A bow can only fire an arrow while the bow is in tension.

                Moonlighting, Remington Steele, Lois & Clark, Castle, all collapsed once that tension of, “Will they or won’t they” get together is answered.

                Just as The Mentalist was all about Patrick Jane catching Red John, once that was done the rest of the episodes were simply showing what a well oiled machine using Jane as the catalyst could do to solve crimes.

                Just as The Prodigal Son in the first season worked while Bright was trying to find the “girl in the box” then fell apart once she was found.

                The same with A Discovery of Witches. It was solid in the first season until the last episode when the tension was released and they spun the story into the next season. I have not watched the next two seasons yet. I will watch to see if they can retension the bow.

                • TV has a tendency to push a narrative beyond its natural end point, often finding excuses to postpone the unavoidable. Never ends well.

                  All good examples with one exception: Superman. 🙂

                  As the current series proves, Lois and Clark work fine after tbey do hook up and, in fact, after they have kids. The characters mesh well enough the hook up is just the beginning. In fact, the characters were *intended* to get together early, way back in tbe 40’s. SUPERMAN#8, 1941, to be precise.


                  As too often happens, the corporate types blocked the story, afraid to upset the status quo. It wasn’t until the 80’s reboot that they finally allowed the narrative to proceed to the logical next step and another 30 years before they allowed parenthood. In each case the stories promptly got way better.

                  Long series need changing dynamics, preferably changing naturally. And if that means reaching and endpoint, so be it. Know *when* to change/end isn’t easy, though.

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