AVClub: On the surface, Fiona walking her way through the empty Gallagher home feels like it could have been Shameless’ final scene. That house has been central to the show—some in the comments last week called it a character, but that suggests we need to understand physical spaces as equivalent to humans, when in truth their role in the story is distinct (the “like a character” simile is a pet peeve, forgive my stubbornness on this point). The house exists in a complex relationship with its occupants, and with their histories—I can’t be the only one who thought of Jimmy/Steve when I saw the washing machine being wheeled out onto the curb, and it said a lot about Frank’s lack of emotional connection to his family that he’d be stripping it for copper instead of saying goodbye. To say goodbye to the house is, for Fiona, giving up on what she fought so hard for: keeping her siblings all under one roof, retaining the physical proximity of a family even when that family was crumbling for one reason or another.
The Doomsday Cult of Antares De La Luz Review: The documentary explores how the cult members were coerced in the group and made accomplice of heinous crimes.
Don’t let the cringey awkwardness of The Office fool you: Michael Scott would actually be the perfect boss.
City Hunter Review: The manga adaptation unravels the tragic beginning of Ryo Saeba and Kaori Makimura's partnership.
