Welsh rarebit recipe – and a story

I love British food and melted cheese, so a Welsh rarebit should be a dish I cook all the time, but I don’t because it’s all cheese and eggs and it feels as if I was eating a heart attack. But last night I was tired and didn’t know what to cook and didn’t get a chance to go to the market, so I decided to make a Welsh rarebit. I had a loaf of bread that was a bit stale so toasting it would be a great way to eat it. We got a rosemary olive oil loaf which was really nice.

I like Welsh rarebit – it’s basically melted cheese on toast which is great comfort food. Purists may poo poo my Welsh rarebit, and I don’t claim it’s super authentic, but it was good.

Welsh rarebit – serves two, generously 

  • Shredded cheese – I had some fat free cheddar cheese. I used about two cups.
  • 3 large eggs
  • A dash of Worcester sauce
  • 1 tbl of good quality mustard (not French’s hot dog stuff)
  • 2 tsp of good quality dried mustard – I use Coleman’s
  • 4 thick slices of bread that isn’t too soft or mushy
  • Freshly ground black pepper
  • Cayenne pepper

Preheat the oven to 450. In a bowl beat the eggs until well-mixed. Add the Worcester sauce, mustard, dried mustard, and cheese and mix. It should be a thick, scraggly paste. If it’s too wet, add a bit more cheese. Add a pinch of cayenne pepper and the black pepper.

Take your slices of bread and pile on the mixture over the bread – try to cover the crust if you can, otherwise it can burn. Bake for about 15 minutes. I then lower the heat to 350 and cook for another 10, 15 minutes until the cheese is puffy and it’s golden brown. Check often to make sure that the food isn’t burning. Serve with some good beer and a side salad. Oh, and enjoy.

 

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Mark Whitaker paints a complex and fascinating portrait of Bill Cosby

Because of the historic success of The Cosby Show, its star Bill Cosby has been preserved in amber as the family-friendly, goofy Dr. Cliff Huxtable. Though his public persona is that of a curmudgeon who’s grumpiness is benign and silly. Of course for performers to be as successful as Cosby, they cannot be pushovers. In Mark Whitaker’s book, Cosby: His Life and Times, the comedian’s perfectionism and temper complicate that grinning, mugging face that entertained millions during the 1980s.

For most, the passages dealing with The Cosby Show would be the most interesting. The iconic NBC show not only revitalized its channel, but it also resurrected the then-dying sitcom, and it has been credited for opening up discussions of race and class in popular culture. Detractors of The Cosby Show and the comic himself argue that the ethos of the show: an avoidance of race issues downplayed racism in favor of large audiences. Whitaker doesn’t see it that way, and brings up the different ways that the show challenged preconceived notions of the black middle class. Cosby bristled at accusations that he wasn’t “black enough” or that The Cosby Show was “Leave It to Beaver in blackface.” And Whitaker agrees with the assessment, as well.

In fact, Whitaker comes to his subject’s defense when relating the “Pound Cake” controversy in which Cosby again brought up questions of race when he was perceived to blame poor black people for their poverty. He takes on Cosby’s critics, namely Michael Eric Dyson who took particular aim at the TV star’s politics in his 2005 book Is Bill Cosby Right? Or Has the Black Middle Class Lost Its Mind? which took Cosby to task for what he saw as victim-blaming. Whether readers will agree with Whitaker that Cosby was given a bad rap is irrelevant, because the author does argue convincingly.

Aside from Cosby’s race politics, there are also peaks into the comic’s creativity as well as his work process. It’s clear that though he’s a dedicated and hardworking individual, he’s not necessarily the nicest employer to have. There are details of Cosby hazing and possibly bullying writers on The Cosby Show, which resulted in insane turnover among the writing staff. Interestingly enough, the much-publicized feud Cosby had with his onscreen daughter, Lisa Bonet is breezily covered with a perfunctory treatment. That Bonet might’ve been cast as a spoiled and impatient diva could be one way to tell the story; or, Whitaker could’ve also looked at the relationship as a willful young woman chafing against a patriarchal source of authority – either would be interesting, but instead Whitaker rushed through the Bonet/Cosby relationship. It’s admirable that he doesn’t want to indulge in showbiz gossip, but just as Cosby represents race discourse in pop culture, gender also finds its way on The Cosby Show.

After The Cosby Show, Bill Cosby’s career took on a rockier road. He starred in some failed vehicles (You Bet Your Life and The Cosby Mysteries) and suffered some personal tragedies, most notably the 1997 murder of his son, Ennis. His public persona also took a beating because of reports of his extramarital affairs as well as allegations of sexual assault, and the aforementioned “Pound Cake” speech that alienated many young African-Americans. It’s a testament to The Cosby Show, that despite these obstacles, the comedian is still universally-beloved.

Interestingly enough for a figure as important and influential as Bill Cosby, Whitaker’s book is the first serious look at his life and work. Whitaker shows a prodigious talent for research. His Bill Cosby is a deeply conflicted but ambitious man who could be prickly and unpleasant, but also generous and deferential (according to Whitaker, he thought very highly of Madeline Kahn). For his fans, Cosby: His Life and Times is a great look into one of the most iconic faces of television.

Click here to buy Mark Whitaker’s Cosby: His Life and Times on amazon.com.

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“Good” gay vs. “bad” gay – is there an ideal gay man?

I’m a huge fan of Richard Simmons, and often love to watch videos on YouTube. I think he’s great: he’s joyful, smiling, and very witty. Plus, he’s helped a lot of people who struggle with obesity and low self-esteem. Part of his appeal and charm is that he’s just so damn happy – whenever he’s on a talk show, he pounces on the stage in his trademark shorts, and overshouts everyone – including the studio audience. I always have a big goofy grin on my face whenever I watch him because he’s pretty much the epitome of a great big ball of joy, unfiltered.

But to some, Richard Simmons’ mannerisms and demeanor is cringe-worthy and embarrassing. To those soulless, fun-suckers, I say they could eat a dick, because there’s nothing wrong with Simmons’ carriage or demeanor. And as a side note, I don’t know if the guy is gay, and to be honest, I don’t think it matters – all I know is that he’s a nice guy who awakens a lot of deep-held insecurities of masculinity in a lot of our society. I’d understand if it were only jocky straight guys who looked askance at the man, but it’s also “straight acting” gay guys who fear that if someone looks at Richard Simmons, that person will make a snap judgment on all gay men (which, by the way, wouldn’t necessarily be a bad thing).

To one of the videos, a guy posted the following comment:

“Richard is a bad example as a gay man. He is the biggest queen that has ever lived and has made a career out of it. It’s not cute, he’s not funny. I don’t understand why shows keep inviting him as a guest.  I just feel like throwing hot grease.”

To the poster, Simmons is a bad example because he’s “the biggest queen that has ever lived” – as if being a big ole queen is something to be embarrassed about. I snarkily asked if there was an example of a “good” gay, and he responded modestly, “Me” – and then listed some celebrities including Rupert Everett, Anderson Cooper, Ricky Martin, Lance Bass, and Nate Berkus. His argument was that a “good” gay doesn’t “go around snapping [his] fingers, twirling on tables, licking people in public, rolling their eyes to their back of their eyes (sic) and being all dramatic.”

Now, I have to agree – good gays – in fact good anybodys don’t go “licking people in public” and not only is that intrusive, but also very unhygienic. But what about the other things he listed? The other things that “good” don’t do, like snapping fingers, twirling on tables, rolling their eyes, or being dramatic? What’s so bad about rolling your eyes and being dramatic?

Well, the problem lies in how gay people are perceived by the general public, how they’re portrayed in the media, and how gay men view themselves. For a long time the only images of gay men we were shown, outside of the pathetic, depressed suicidal gay or the predatory gay, was the faaaabulous effeminate gay. The kind of guy who adopts black female slang and will silence a crowded room with a lispy roar. And lots of gay guys cringe when they see this kind of gay guy because when homophobes on the schoolyard want to target us, they go after the easiest, most obvious target.

But that’s not Richard Simmons’ fault. In fact, instead of shaking our head in shame, we should be celebrating Richard Simmons for being who he is, without a shred of reservation. It’s not easy being different and Richard Simmons embraces a kind of self-love that each and everyone of us could use.

It’s interesting that in his examples, the poster from YouTube used largely successful, white male. With the exception of Ricky Martin, all the guys listed are rich cis men who conform to standard or traditional male gender expression. They are “straight acting.” At least in their public persona, their gayness is an afterthought. Sure, they may highlight their hair or wear tight tank tops, but hell, straight men do that now, too – in fact if we just went on appearance alone, Adam Levine would’ve fit in. Just as straight women have a narrow standard of beauty to look up to, so do gay men. For the most part, the gay media pushes an image of an athletically-built young guy, with no visible physical differences, usually white – but if not white, then light skinned, and if this guy walks and talks, he does so in a bland, masculine-lite way. And when we hold on to these images for dear life because they’re so corporate and nondescript that no one can make fun of us, the combination Mardi Gras/Carnivale that is Richard Simmons throws a mighty big wrench in all that.

In the end, internalized homophobia against effeminate men comes from the same source as general homophobia from straight folks, and that source is a feeling of insecurity. A worry that translates to, well I’m openly gay, and that flaming queen is openly gay, but I don’t want people to think I’m a flaming queen, so I’ll crap on that flaming queen to prove just how non-stereotypical gays are. It’s a goofy line of logic that doesn’t work because homophobes are nothing if not consistent, and they hate on gays of all kinds of persuasions – it doesn’t matter where on the spectrum you land, whether it be John Inman or John Wayne, the minute your gayness does become apparent, no amount of machismo will make you acceptable to those who find homosexuality distasteful. So let’s figure out our shit and not get embroiled in the femme/straight acting crap, because when we’re shitting on nellie guys or butch guys we’re doing exactly what the homophobes want us to do – it’s divide and conquer. If we’re splintered, we’re a lot easier to defeat.

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‘SNL’ is right to switch one of the anchors from “Weekend Update” – unfortunately, the wrong anchor got cut…

It’s no secret that Saturday Night Live‘s “Weekend Update” skit has been on a decline for the last few seasons – namely after Seth Meyers took over on his own. Though he’s a funny guy, Meyers needed someone to balance out his appealing smugness, and so they gave him a co-anchor, newer cast member, Cecily Strong. And while she would never replace Amy Poehler, Tina Fey, or Jimmy Fallon in anyone’s mind, she did pretty well, growing with each episode. Then when Meyers left, Strong was saddled with head writer Colin Jost, and the “Weekend Update” segment continued on its downward slide. So it’s no surprise that Lorne Michaels and company are trying to reverse that trend by switching things up and bringing in Michael Che, a writer for SNL.

I think it’s great that Che’s being brought on in front of the camera. But I think the folks behind this decision made the wrong one – if it was a choice between Jost and Strong, I can’t believe that it was Strong who was given the ax. Jost, a talented writer, has yet to make an impression in front of the camera. In fact, he’s kind of a blah nonentity, and it was up to poor Strong to try and lift the sketch – and though she never really succeeded, it was easy to see that of the two, she was the stronger presence and the funnier performer.

Also, getting rid of Strong means that for the first time in a long time that the show moved away from the male-female dynamic that worked for so long. Still, the Amy Poehler/Tina Fey combo worked, so maybe Che and Jost will find a rhythm and chemistry that’ll bring out the best in the latter.

Still, I can’t help but think that Strong would’ve been able to grow into the role and make her mark. It’s a shame…

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Kelsey Grammer and Martin Lawrence fail to find a solid comeback in FX’s ‘Partners’

Poor Kelsey Grammer. The guy’s had a rough go at finding an appropriate or successful gig since his 20-year stint playing Frasier Crane came to an end in 2004. In the last ten years, he’s had two failed sitcoms (Back to You and Hank) and a respectable, if ultimately unsuccessful foray into drama (Boss). Part of the problem is that Grammer’s been so closely identified by Frasier that it’s difficult for audiences to see him anything else. Sarah Silverman talked about her mother’s love of Grammer saying she appreciated his “love for diction,” to which the comedienne had to respond, “He’s not Frasier.” But playing the lovably pompous psychiatrist on Cheers for 8 seasons, plus another 11 years on the classic spin-off Fraiser has left a permanent mark on the audiences. And reviewing Grammer’s various comeback attempts show that despite being a brilliant and hilarious comedian, he is also a pretty limited performer who definitely works within a comfort zone.

And in his newest sitcom (his third since Fraiser‘s end) Partners, Grammer does another variation on his self-involved snob. Pairing him with comedian Martin Lawrence – on paper – sounds like an inspired idea. After all, Lawrence is an explosive and exciting talent. On his much-beloved FOX sitcom Martin (1992 – 1997), Lawrence brought his high-energy comedy to millions of audiences. Since the end of his sitcom, he seemed to have an easier time of maintaining a career than his costar. He starred in a string of successful big screen comedies (Big Momma’s HouseBad Boys IIBig Momma’s House 2, Wild Hogs, College Road Trip), though his box office returns have diminished. So a big TV hit would’ve been perfect right about now.

With two such talented actors, Partners should’ve worked. The Odd Couple-like story is a threadbare trope, but with the right elements, it could still be fun. But Partners isn’t fun. It’s boring and depressing because of the talent involved. The story has two lawyers, Allen Braddock (Grammer) who joins Marcus Jackson (Lawrence) after being fired from his father’s firm. Allen is yet another arrogant fussbudget that Grammer can play in his sleep. Marcus, however, is a little more interesting because he’s a civil rights attorney and a community organizer. Of course Allen’s corporate background will inevitably lead to clashes with his new partners, but like in all great buddy comedies, the two predictably settle into a friendship.

The main problem with Partners is that while it wants to believe it’s hip and cutting edge, it’s remarkably dated. I’m not a huge fan of multi-camera sitcoms, and I hate laugh tracks, which is all the more unbearable when a chorus of loud and forced laughter rains during punchlines that are delivered with broad gusto. And a lot of the jokes deal with race and homosexuality, but are so toothless, they would’ve seemed edgy back in 1995 when  Will & Grace was thought of as trailblazing television.

But all of that could be forgiven if Lawrence and Grammer were working at their peak – after all, both are so talented and likable, that they could elevate even the most mundane material. Unfortunately, Grammer’s performance is distractingly one-note. His performance is essentially Frasier, only less likable and not as funny. As Marcus, Lawrence is better, though strangely subdued. He lends some gravitas, but it always feels as if he’s slumming. The only cast member who manages to shine is sitcom vet Telma Hopkins, who is amusing as Marcus’s mother.

Partners is FX’s latest attempt at doing what TV Land has been doing for about five years now – taking formerly hot TV actors and placing them in strangely retro vehicles. Some of the channel’s other original programs are more original, but Partners feels like Anger Management and the failed George Lopez sitcom Saint George (apparently, former King of Queens star Kevin James also has an upcoming show for the cable channel). Partners squanders some great talent, both of whom would be welcomed back to TV if they were given proper outlets for their gifts – Partners doesn’t do that.

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Vegetarian cooking – pasta with mushroom ragu

I made mushroom ragu last night. It’s a great way to eat a substantial Italian meal and still maintain a vegetarian lifestyle. I try to eat vegetarian meals during the week, leaving chicken and turkey (and very rarely pork) for the weekends. I’ve stopped eating red meat so the mushroom is a great way to have the meaty taste in ragu without the actual meat.

Pasta with mushroom ragu – serving for two

  • 8 oz. of mushrooms, sliced – I like baby bella and suggest you do the same. white button mushrooms are kinda eh.
  • 1/4 of a large white onion, chopped finely
  • 1 shallot, chopped finely
  • 1 clove of garlic, minced finely
  • 1/2 of a large red bell pepper, chopped finely
  • 1/4 oz. of dried porcini
  • 1 cup of vegetable broth (or chicken broth or beef broth, depending on taste)
  • 1 cup of water
  • 2 tbl of tomato paste
  • dried Italian seasonings – to taste – I like a healthy pinch
  • 2 tbl of sour cream
  • 1/4 cup of dry red wine
  • pinch of red pepper flakes
  • freshly ground pepper
  • 2 tbl of butter (I used Land O’ Lakes that’s cut with canola oil, which means it has a lot less fat and cholesterol, but it’s still butter
  • 2 tbl of olive oil
  • 3  cups of dried pasta – penne is good because the sauce gets into the hollow inside.

You’ll need a pot for the pasta and you’ll need a large saucepan or a Dutch oven for the sauce – I use a great Dutch oven that I got a couple Christmases ago – I love it and cook with it all the time.

So, put the porcini mushrooms into the cup of water and microwave on high for about 30 seconds. Set aside. Heat the butter and oil in your saucepan over medium-high heat. When the oil is hot, add the red pepper flakes, and throw in the onion, shallot, and garlic. Stir continuously so that the garlic doesn’t burn, and so that the onion doesn’t brown. You want the onion to be translucent and softened. This will take about 6 to 8 minutes. Take the porcini mushroom and chop into small pieces. Set the mushroom broth aside. Throw the baby bella mushroom and the porcini into the saucepan and stir continuously. Cook for about 10 minutes, stirring so that it doesn’t stick to the bottom of the pan. If you’re using salt in your dish (I don’t cook with salt), drop a pinch to draw out the mushroom’s moisture. Stir and cook over the medium-high heat. You’ll see that the mushroom slices will shrink and cook down. Raise the heat to high and let the mushrooms brown and create a fond on the bottom of the pan – you have to be careful that you don’t burn the the mushrooms, so keep an eye – the bottom of the pan should be brown not black. Create a well in the middle of the vegetables and add the tomato paste and stir toasting the paste – you don’t want a raw tomatoey taste. Throw in the chopped red pepper and stir. The tomato paste will add a deep red hue to the fond – again, make sure you don’t burn. If it’s starting to get too dark, start adding the broth (either the mushroom or the veggie broth) and stir, scraping the browned bits – this will make for a rich sauce. Add the rest of your broth and the wine and stir and let come to a boil, and then lower to low heat and let it simmer for about 20, 25 minutes. I uncover it so that the sauce will have a chance to thicken. Stir and make sure that it doesn’t get too dry – if you see that the is overcooking, add a little bit more broth.

After about 20 minutes, you sauce should be thick and muddy with a deep red appearance. Add the Italian seasonings and grind fresh pepper and stir. Lower the heat to just “heat” to keep the sauce warm.

Cook the pasta according to the package’s directions, though I always shave a minute off – I like pasta to be al dente.

Before you spoon the sauce onto the pasta, add the sour cream and mix thoroughly. Spoon over the pasta and serve with freshly grated Parmesan cheese. Oh, and enjoy.

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Second season of ‘The Mindy Project’ is even better than the first

I’ve been thinking a lot about Joan Rivers lately, and her death remained in the back of my mind as I binge watched the second season of The Mindy Project now on DVD. Starring/created by/and occasionally written by former The Office scribe and costar Mindy Kaling, The Mindy Project tells the story of Dr. Mindy Lahiri, a successful Manhattan OB/GYN who survives a string of disastrous love affairs while maintaining a successful practice with her partners, Dr. Danny Castellano (Chris Messina), Dr. Jeremy Reed (Ed Weeks), and newest character addition, Dr. Peter Prentice (Adam Polly). Supporting the doctors are nurses Morgan Tookers (Ike Barinholtz, who writes for the show and is a producer) and Tamra (Xosha Roquemore). Rounding out the staff are the two receptionists, Beverly Janoszewski (Beth Grant) and Betsy Putch (Zoe Jarman).

Like most work place sitcoms, Mindy’s coworkers make up her family. She turns to them for support. And like most work place sitcoms, very little work actually happens. I’m hoping this will be rectified in the third season, as I’m starting to wonder just how Mindy is able to have this successful career as a busy doctor, and yet still have time to do all the crazy, nonsensical stuff the writers have her do. Mindy Lahiri is an interesting example of the current female TV protagonist because she benefits from the trails blazed by characters like Mary Richards, Murphy Brown, Liz Lemon, and Leslie Knope, but she’s definitely much goofier and sillier than her predecessors. In fact, despite being a doctor, Mindy’s drawn more toward pop culture and junk entertainment than science or high culture. She models her life after Bridget Jones, seeing herself as a hapless singleton looking for love in the big city.

All of this makes for a very good sitcom, with the whole being greater than some of the parts. While Mindy’s a wonderful center for the show, it’d be nice if the writers took a break from making her the butt of every joke. And that is why I thought about Joan Rivers when watching The Mindy Project. A large part of Rivers’ act was self-deprecation – she turned the joke inward, insulting herself before anyone else could. It’s an old defense mechanism of every smart aleck kid who got bullied as a kid. It’s a poignant impulse, though it can become difficult to listen to – and that was one of my beefs with comediennes like Rivers, Phyllis Diller or 70s-era Bette Midler.

But Mindy Kaling is in control of Mindy Lahiri, and therefore has a large hand in the direction her character is going in, and so it’d be nice if we were reminded of just why Mindy’s such a great doctor. One doesn’t need to create perfect heroes in order to show competence. I’m obviously thinking of Amy Poehler’s brilliant Leslie Knope from Parks and Recreation – she, like Dr. Lahiri, is a wide-eyed optimist who loves TV and junk “literature” and is often roped into insane antics. But she’s also in love with her job and is crazy good at it; we have to assume that Mindy’s good at her job, too. And there are peeks of the kind of doctor Mindy Lahiri is, especially when she insists on helping women without health insurance. It may be that the writers don’t want to drag down the sometimes-lighter than air plots with politics, but some scathing social critique wouldn’t be out of place.

That being said, the second season is still aces because while it somewhat disappoints as a workplace comedy, it excels as a romantic comedy. It’s no big secret that Mindy loves romcoms, and sometimes arranges her life as if it were a Nora Ephron movie. Because of her idealism, she often gets into strange and ridiculous relationships, often with men who are completely inappropriate for her. She also is weighing her feelings for Danny, in what can be described as the Sam and Diane element of the show (is there a replacement for that trope for folks too young to remember Cheers?). Mindy’s a catch – beautiful, (at times) intelligent, funny, witty, and successful. So it’s no surprise that she has a string of boyfriends. What’s great is that throughout the show’s two years we got to see a line of great comics play Mindy’s plus one. In this season, It’s Always Sunny in Philadelphia‘s Glenn Howerton joins the show as Cliff Gilbert, the handsome and sensitive lawyer whose practice is down the hall from Mindy’s office. The relationship is obviously doomed because though Cliff is a nice enough guy, he doesn’t challenge Mindy. But it’s fun to see them together, especially in the early moments of their relationship, when they are still nursing adversarial feelings for each other: after all what romantic comedy doesn’t start with the two lovers hating each other first?

Another reason why the show hits more often than misses, is because the actors are really wonderful. An assemblage of comedians and comedic actors, each performer brings something unique and important to the show. As the central character, Kaling is great – and it’s clear that she’s developing into quite a versatile actress. The second season has some dark moments for Dr. Lahiri, and when the scenes ask for more than just Kaling’s facile wit and killer delivery, she responds with some Emmy-worthy emoting. Kaling’s growth as an actress is reminiscent of similar progressions in talent in women like Tina Fey, Roseanne Barr, or Amy Poehler – all comics who were able to develop and mature as actresses in their respective television shows. It’s a joy to watch talent blossom, and Kaling does some stellar work in the second season.

And the rest of the cast match her. As her comic foil, Chris Messina is also a standout. He plays Danny’s toughness with a soft, gooey center. And as Morgan, Barinholtz is a loud and raucous force of nature, throwing himself into some outstanding physical comedy. And new hire Polly steals his scenes as the bro-ish Dr. Prentice. Though not given as much to do, Weeks, Roquemore, Grant, and Jarman offer solid support. And the recurring guest stars who include Bill Hader, Chloe Sevigny, Max Minghella, Anders Holm, and Josh Peck each blend effortlessly into the cast, making strong impressions.

As the show progresses, I’m hoping that it shifts back to the workplace and we see Mindy the doctor. Adult children are great to watch, but they also have limited shelf-lives. I’m not saying Mindy Lahiri is a woman-child – and she definitely had some assertive moments in the second season – but it’s important that the writers allow for the character to grow out of her Meg Ryan-esque adorable phase – especially if the show lasts long enough for Mindy to enter her 40s (and judging from the strength of the first two seasons, there’s no reason why The Mindy Project couldn’t run for six or seven seasons). I know we’re watching a snarky take on a lot of romcom cliches – and they’re all funny. But when The Mindy Project reaches emotional highs like Danny’s fractious relationship with his deadbeat dad or Mindy’s feelings of self-worth after particularly bruising breakups, it shows that it can easily combine pathos and silly, rapid-fire comedy.

Click here to buy The Mindy Project: Season 2 on DVD from amazon.com.

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