Television
Kevin Hilke

Pierce Hawthorne’s nominal allusion to the writer Nathaniel seems calculated as an ironic comment on his own rank immorality in the form of an anti-minority bias worn with shimmering scarlet pride. But Pierce’s racism is one unsavory aspect of his hopeful way of being human: inveterately deploying an insult and awaiting the closeness it will inevitably bring him with the insulted. Pierce’s racism is a racism of love.
Culture Television
Darren Franich
Kara Thrace likes to drink too much and screw too often. She’s great at her job and hates her job. Her pop ditched her and her mom beat her. She hurts people who love her and pisses off everybody else. For one brief shining moment she found true love, then ditched the guy in the morning for a quickie marriage with a man she regularly cuckolds. She is without a doubt the most passionate, insane, terribly real person on TV, even if she lives on a spaceship, worships Athena, and can’t go two minutes without saying the expletive “frak” or one of its derivatives.
Culture Television
Darren Franich
It is impossible for two men to become good friends nowadays without someone—often multiple someones, including the two men themselves—characterizing the friendship in a homoerotic way. “Man crush” is the preferred terminology—originating, I maintain, from the confused emotions felt by a generation of young men who saw “Fight Club” and felt pretty much the same way about Brad Pitt as Edward Norton does in the movie—utterly in awe, passionately seeking to become his best friend and to become him.