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Sony posts its third number one debut of 2012 (after “Underworld: Awakening” and “The Vow”) this weekend with the R-rated action comedy “21 Jump Street” and its bigger than expected $35 million Friday through Sunday total. This was the biggest opening weekend for a non-summer, non-sequel R-rated comedy. Starring Oscar-nominee Jonah Hill and heartthrob and “The Vow” star Channing Tatum, the film gets its title from the late-80’s TV show that starred Johnny Depp but is re-imagined as a comedy about young cops sent undercover in a high school to bust a drug ring.
“Dr. Seuss’ The Lorax,” continues its incredible run and enters its third weekend adding another $22.8 million to its environmentally-friendly bank account. The Universal Pictures release continues to be the top choice for families and in the wake of another string of impressive mid-week grosses and winds up with about $158.4 million in domestic revenue by Sunday night.

Disney’s mega-budget action adventure “John Carter” met some resistance in a tough domestic marketplace taking in just $30.2 million last weekend, but luckily grabbed an impressive $70.6 million in international revenues to make up the difference. The film earned $13.5 million in North America this weekend bringing its 10-day total to $53.2 million and its worldwide total to $179.3 million.

Warner Bros.’ R-rated comedy “Project X” from producer Todd Phillips in its third weekend added another $4 million to its party fund. The modestly-budgeted (a reported $12 million) story of high school kids trying to build their reputations as the ultimate party hosts profitably nears the $50 million mark this weekend.

Eddie Murphy in Paramount’s “A Thousand Words” held up pretty well this weekend dropping just 39% in its second weekend and taking the fifth spot with $3.75 million and a 10-day total of $12.1 million.

Just outside of the top five, Relativity Media’s “Act of Valor” blasted its way to around $3.7 million and crosses the $60 million in its fourth weekend of release.. The R-rated action drama featuring real Navy SEALs has had a strong run in theaters since its debut about a month ago.

The first “down” weekend of the year as we await the box office frenzy that will accompany Lionsgate’s “The Hunger Games” later this week. Trust us when we say box office will be way up next weekend!

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MTV has announced that the upcoming fourth season of Teen Mom will be the show’s last, so from now on the personal and parenting woes of Maci Bookout, Amber Portwood, Farrah Abraham and Catelynn Lowell won’t be televised. However, we may get the occasional update. MTV tells Us Weekly, “They will continue to be a part of our MTV family, and we’re thankful to these brave young women for sharing their stories and helping to make a positive impact on teen pregnancy prevention.”

No reason was given for the show’s cancellation, but we suspect it may have something to do with the fact that 20-Something Mom isn’t that catchy. The ladies were first featured on MTV’s 16 and Pregnant in 2009, and went on to star in the spinoff. MTV is still producing new seasons of Teen Mom 2, and the network announced last month that it will soon launch Teen Mom 3 starring girls culled from the upcoming season of 16 Pregnant.

The premiere date for the show’s final season hasn’t been announced, but it’s expected to air this summer. In the meantime, America will have no shortage of young pregnant ladies to sympathize with (and occasionally judge). 16 and Pregnant will be back on Tuesday, March 27, so tune in to get your first look at the future stars of Teen Mom 3.

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Universal’s “Dr. Seuss’ The Lorax,” absolutely shattered expectations last weekend with the biggest opening of the year thus far with $70.2 million. The animated family film has been a mid-week favorite as well impressively earning around $3 million per day. The first quarter hit tops the chart for the second weekend in a row with $39.1 million and a 10 day total through Sunday of $121.950 million.

 Disney’s mega-budget action adventure “John Carter” had much to prove this weekend as it hit 3,749 theaters as well as 3-D and IMAX showings. The film based on Edgar Rice Burroughs’ “A Princess of Mars,” has a long road ahead to recoup its reported $250 million budget and as such has been subject to intense media scrutiny. A $30.6 million North American debut was bolstered by an international opening of $70.6 million for a solid worldwide debut of $101.2 million. IMAX once again more than pulls their weight with $5.0 million (or 17%) of the weekend gross in 289 theaters. 

Warner Bros.’ R-rated comedy “Project X” from producer Todd Phillips partied its way to a better-than-expected $21 million last weekend and keeps the festivities in full swing in its sophomore weekend. $11.550 million lands the film in third place and with $40.1 million in North America by Sunday night.

 The R-rated horror was be brief yet effective in the 88 minutes of “Silent House” from Open Road Films. Captured in real time and “inspired by true events,” this story of a young woman trapped inside her family’s lakeside retreat earned $7.010 million in its debut weekend.

Rounding out the top 5, Relativity Media’s “Act of Valor” continues to be a solid performer as it enjoys its third weekend of release. The R-rated action drama that features live ammo and real Navy SEALs added another $7 million to its war budget will have a total of $56.1 million in North American dollars by Sunday night. 

Opening in 1,890 theaters, Paramount’s “A Thousand Words” starring Eddie Murphy narrowly missed a spot in the Top 5 with a gross of $6.35 million. 

The box office continues to go up up up as year-to-date revenues are running 18.28% ahead of last year at this point with every weekend beating the comparable frame a year ago since January 6.

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Considering how awful celebrities’ behavior can be, it’s a bit shocking that the Kardashians have become the family Hollywood loves to hate. They haven’t committed any felonies (as far as we know), and in fact, their biggest crimes include Khloe’s DUI and rampant overuse of the letter “K.” Yet, the insults keep on coming.

The latest is from Mad Men star Jon Hamm. In an interview with Elle UK, he said, “Whether it’s Paris Hilton or Kim Kardashian or whoever, stupidity is certainly celebrated. Being a f**king idiot is a valuable commodity in this culture because you’re rewarded significantly.” Hamm added, “Incuriousness has become cool… It’s celebrated. It doesn’t make sense to me.” One might argue that it takes a certain amount of intelligence to make everyone in your family a celebrity when you aren’t particularly good at acting, singing, or dancing, however, Hamm isn’t alone. Here’s a look back at some of the nastiest burns directed toward Kim and company:

Jonah Hill
When talking to The Huffington Post in December, Jonah Hill lamented the fact that the Kardashians are more popular than Mad Men — though he also admitted that he enjoys watching reality TV. He said, “The truth of it is, I have friends who work in TV and the Kardashians get higher ratings than their TV shows. Shows that people actually work hard on; writing, and creating, and trying to tell stories. The fact that the Kardashians could be more popular than a show like Mad Men is disgusting.” Can’t highbrow dramas coexist with lighter fare? We didn’t hear Khloe complaining about Jonah following up Moneyball with the comedy 21 Jump Street.

Sacha Baron Cohen
At least Jonah Hill was trying to make a point about the state of our culture. Sacha Baron Cohen’s Kardashians’ dig is just pointless and mean. In the trailer for his upcoming film The Dictator we see his character trying to give Megan Fox a ruby in return for sexual favors. She says, “Is this a joke? Am I a Kardashian?” to which he replies, “Of course not. You’re much less hairy.”

Michael Buble
Sacha Baron Cohen is know for his lewd humor, but even notorious nice guy Michael Buble took a random shot at Kim. At a concert in the fall he announced, “Please welcome Kim Kardashian,” then added, “Nah, just f**ing with you! That b**ch isn’t coming on my stage.”

Snoop Dogg
Snoop Dogg used the same expletive in a web video released in January, in which he tells Kris Humphries he shouldn’t have tried to “wife the b**ch.” Though we’re fairly certain Snoop isn’t a licensed marital counselor, and it’s unclear if he’s even met Kim, he offered this bit of advice: “She’s not that type of a h–, she gets around … She’s cold-blooded, I’m pretty sure she’ll have a book in a month talking about all the n—-s that she got and how she played them.”

Cher
Kim’s short-lived marriage seems to have riled up quite a few celebrities. In the fall Cher when on an anti-Kardashian Twitter rant and it had nothing to do with Robert Kardashian competing against her son Chaz Bono on Dancing With the Stars at the time. Her Tweets, “Never saw a Kardashian but these B–ches should b Drop kicked down a freeway! Not kidding!” and “feel like I live in a cave! Once watched J&Kate they were sweet! This s–t is HARD CORE! Is true Kardashian did Porno ! I’m so Fkn outa it !” led many to conclude that Cher’s meltdown was instigated by the Kardashians’ wedding special. Later Cher claimed she was talking about Bridezillas, but that doesn’t really explain the reference to Kim’s sex tape.

Mariah Carey
While discussing her marriage to Nick Cannon in November, Mariah Carey said, “I’m a real person, I’m not going to put on a fake face for Hollywood. Sometimes we make each other mad, that’s why we aren’t divorced after four months.” Yes, attacking the Kardashians became so popular after Kim’s divorce that Mimi was able to insult her without even saying her name.

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Excuse us while we scrape the remnants of our jaws off the floor and run out to grab another box of tissues.

The Vampire Diaries finally returned from its winter hiatus tonight and man, did it return in style. Then again, do you expect anything less from the CW drama that moves at break-neck speed and isn’t afraid to cut loose a fan favorite character…like they did in “The New Deal.” We wish we knew how to quit you, Kevin Williamson and Julie Plec. (Not really, please never leave us!)

Yes, one of our favorites has left Mystic Falls, leaving a fandom to mourn the loss of hotness. So will he be back? We have the answer! And it wasn’t all tears and goodbyes: a fan favorite couple finally gave viewers something they’ve been waiting three seasons to see…

MORE: Casting Scoop: Vampire Diaries and PLL Star Comes to Teen Wolf!
PlayJosh Lucas Talks “The Firm”

Play”Supernatural” Peek 1/6

PlayPremiere: “House of Lies”
A Showstopping Kiss: It happened. It finally happened! After three seasons of build-up and sexual tension you could cut with a knife (seriously), fan favorite couple Damon (Ian Somerhalder) and Elena (Nina Dobrev) finally kissed. And both parties wanted it! How far we’ve come from the season two premiere when Damon stole a kiss from Elena, no? Though it happened after a less than ideal situation (we’ll get to that in a minute), the kiss was genuine and pure, signifying how far Damon and Elena have come, as friends and possible romantic partners. There’s a real connection between the two, a support and comfort that both characters desperately need.

Now here’s the question we pose to you: which couple’s first kiss was better, Stefan (Paul Wesley) and Elena’s or Damon and Elena’s?

So Long, Jer: Yes, it’s true: Jeremy Gilbert (Steven R. McQueen) made like Tom and Cruised from Mystic Falls, heading for Denver to stay with family friends. Why? Because everyone is finally realizing it’s not safe for the eternally emo teen to stick around. Tyler (Michael Trevino) compelled Jeremy to take off his handy dandy ring and stand in front of a car (Not cool, Klaus!), but Alaric (Matt Davis) pushed him out of the way at the last minute, taking a car to the body in the name of protecting his dead ex-girlfriend’s nephew. All together now: Aw! After killing a hybrid and dealing with far too much tragedy in such a short time, Jeremy knows it’s time to leave, which is why he lets Damon compel him to forget everything. McQueen, Dobrev, Davis, Somerhalder, they were all superb in the scene. All the tears!

Bob Mahoney/The CW
So could Elena’s baby bro be gone from MF…for good? For now, the CW is keeping the details of when—or if— Jeremy’s returning to town a secret. However, a solid source assures us that Jeremy (McQueen) will be seen again on the show soon, and although he may be off the series for a little while, he will not be gone forever. Relieved?

New Lady in Town: While Caroline’s (Candice Accola) absence was certainly felt (Miss you, vampire barbie!), we have to say we’re very intrigued by Dr. Fell, played by Torrey DeVitto, Wesley’s real-life wife. Did you book fans happen to catch her first name? Yes, Meredith has finally made her grand entrance on the TV side of the TVD coin. While DeVitto’s Meredith is much different than the book-version, we’re curious to see if there will be any similarities. A connection to Alaric is a good start, right?

Now it’s your turn, TVD fans: what did you think of “The New Deal”? Are you happy Damon and Elena finally kissed? Were you sad to see Jeremy leave town? Sound off in the comments!

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Finn and Rachel forever? That seems to be the case if Lea Michele has her way!

It was just announced that Michele and several of Glee’s other seniors (Chris Colfer, Naya Rivera and Cory Monteith, included) will definitely be returning to the Fox hit series for its fourth season, ending months of speculation and rumors.

We caught up with the lovely Michele at the Fox’s winter press tour party where she was excited to finally be able to talk about returning to the show. Also, the girl is the master of the TV tease as she tells us Ryan Murphy’s season-four plan is “revolutionary.” Plus, we got the latest scoop on a certain fan-favorite couple…

MORE: Exclusive! Glee Villain Gets Series Regular Role in Season Four
PlayJosh Lucas Talks “The Firm”

Play”Supernatural” Peek 1/6

PlayPremiere: “House of Lies”
When asked how it feels to finally be able to say she’s coming back for another season after months of rumors, Michele says, “I’m so happy to finally be here and get to say, ‘Yes, we’re coming back.’ ”

Michele tells us she had complete faith in Murphy and knew he wouldn’t “steer fans in the wrong direction.” While she always had an inkling she would be returning, Michele says they had to wait until the right time to make the big announcement. “We just couldn’t tell everybody exactly what was happening. It was the beginning of the season three and to start to talk about season four I think was unfair,” she explains. “Now it’s midseason and it’s definitely the right time to say yes, Rachel will be back next year, as will some of her other friends.”

While she knows what Murphy and company have in store for season four, Michele couldn’t reveal much other than it might change TV. No big deal! “I’m so excited. I spoke with Ryan today. We had a great conversation,” she teases. “He told me his plan and I will tell you it’s incredibly groundbreaking and it’s revolutionary for television, the way he’s figured out how to use these graduated high school characters on this TV show.”

Michele admits to us that she also teared up a bit while on the phone with Murphy because she was so excited to continue on the show. “I was like, ‘Ryan, I feel like I could cry!’ I always knew in the back of my mind, like, listen, I’m coming back whether they want it or no. I’m going to be a janitor in the background!” she says. “I’m thankful every single day. This is the best job in the whole world. Ryan is the greatest creator and I adore him. My cast is my family. I’m so happy.”

MORE: Glee Spinoff Dead! What Will Happen to the Senior Cast?

And don’t worry, Finchel fans. Michele assures us that wherever Rachel goes, Finn will follow. “Cory and I like to say we’re like a two-for-one deal. She wouldn’t be there without him,” she teases. Michele also tells us that she called Monteith as soon as she heard the news of their season four return was official. “We talked about it and we were both so happy,” she says. “I’m just enjoying working with Cory. I feel like we’ve grown so much together as actors working together. I’m just really grateful because he’s such a pleasure to work with.”

Of course we couldn’t give up the chance to get a bit of scoop on what’s ahead for Glee’s golden couple and Michele teases that there’s “some fantastic stuff” in store for Finn and Rachel. “I think Finchel fans are going to be really happy about our upcoming storyline,” she says. “Great duets, great songs. I got to sing a really emotional song for him that will be featured in our next episode.”

Michele wouldn’t divulge specifics about Finchel’s upcoming storyline, only that “it’s something big.” Speculate away, Glee fans!

Are you excited to see Michele and Monteith return for season four? What would you like to see happen with Finchel this season? Sound off in the comments!

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I imagine that the trickiest thing about producing a “message movie” is the often-unavoidable sacrifice of entertainment value for sociopolitical significance. Making a statement while allowing audiences to enjoy themselves is tough for a mainstream filmmaker; you’ve got to stimulate minds without having them work too hard for their reward. Luckily, Americans have begun to embrace motion pictures with something to say over the last few years – at least those that are edgy, bleak or cynical (The Social Network, Crash, Precious).

But DreamWorks’ period drama The Help has gone against the grain, combining warm comedy and a moving Southern-set civil rights story that has resulted in one of the most balanced and thorough films of 2011. Though its text, which centers on a handful of housemaids in Jackson, Mississippi who tell their respective tales of what it’s like working in white homes to an aspiring writer, is somewhat dated in the 21st Century, the underlying themes of familial connections, friendship and fairness are as resonant as they ever were. Kudos to writer-director Tate Taylor, who successfully dramatizes Kathryn Stockett’s lauded novel with unobtrusive guidance and taps into the essence of the issues without hammering too much judgment upon his characters or the moviegoers.

He must also be applauded for gathering one of the most eclectic ensembles to grace the big screen this year, and knowing when to let them shine on their own. Viola Davis is no stranger to meaty roles, and she’s finally given a platform to show the world what she can do as a leading lady in The Help. Displaying maternal gentleness and stoic morality when she’s not playing Aibileen Clark as the cautiously reserved character she’s been conditioned into, we’re put through an emotional rollercoaster thanks to her performance. She’s absolutely committed to her role and stands out throughout the picture in spite of a stellar supporting cast that could’ve easily stolen the show.

Most noteworthy is Octavia Spencer – who’s up for supporting actress awards – as the Ying to Davis’ Yang. Where Aibileen is passive regarding social injustices, Minny Jackson is aggressive, taking matters into her own hands while dealing with a trying domestic nightmare. Though the material requires her to play into many African American stereotypes, she elevates her character in various heartfelt scenes and serves as the truth-spewing voice inside all our heads. In addition to these fantastic turns, Jessica Chastain and Bryce Dallas Howard are a joy to behold as rival socialites with very different opinions, and Emma Stone proves herself capable of navigating dramatic territory.

Deep-fried in southern charm and 1960s nostalgia, and busting at the seams with wide-eyed optimism, The Help is a rare occurrence – a feel-good family flick that initiates a serious discussion about class and race. Even more impressive is that Taylor never lets the movie dip into artificiality despite the costumes and make-up employed to accurately represent the period. The pain, pleasure, heart and soul of the picture is 100% organic. Simple, smart and satisfying – exactly the kind of film that the Hollywood Foreign Press Association and the Academy of Motion Picture Arts and Sciences tends to vote for.

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Welcome to the third annual WTF Movie Awards, our annual celebration of the most baffling and bizarre moments in cinema. Our congratulations to this year’s winners of the coveted Frank Trophy (pictured right):

Most Surprising Hit: The Lion King 3D

There were few surprises to be found among this year’s highest-grossing titles. Even Bridesmaids, widely regarded as 2011’s breakout hit, had a boatload of rhapsodic buzz that presaged its success. With audience enthusiasm for 3D lukewarm at best, who could have predicted that a 3D-refurbished Lion King would earn upwards of $94 million?

Most Inexplicable Flop: Happy Feet Two

So dominant has been animation’s hold over the box office in recent years that a $100 million-plus domestic tally for even the weakest of major-studio releases seemed a given. Not so for Happy Feet Two, which has yet to break the $60 million mark after over a month in theaters.

Best Unintentional Comedy: Abduction

The field in this category was perhaps the most competitive in years. With its formidable comic one-two punch of Leighton Meester and Minka Kelly, The Roommate emerged as the clear-cut favorite in the early going, fending off such early challengers as Red Riding Hood and Sucker Punch. Its victory seemed all but assured until September, when it was overtaken by the hilariously ill-conceived Taylor Lautner action vehicle, Abduction.

Best Inadvertent Horror Flick: New Year’s Eve

Over the course of 118 soul-sucking minutes, Garry Marshall and his celebrity minions cycle through one cringe-worthy moment after another in this relentless blitzkrieg of schmaltz.

The Ewan McGregor Award for Achievement in Male Full-Frontal Nudity: Michael Fassbender, Shame

Outside of Anthony Weiner, no public figure earned more press for his exposed naughty bits this year than Fassbender, whose “Fassboner,” as it has been affectionately christened, could propel him all the way to the Oscar stand. (Well, that and his haunting depiction of the soul-deadening effects of sex addiction. Details.) Fassbender stands a solid chance of being the first actor nominated for both an Academy Award and an AVN Award in the same year.

WTF Performer of the Year: Andy Serkis

As the super-smart ape Ceasar in Rise of the Planet of the Apes, Serkis not only put forth the first convincing case for CGI performance-capture filmmaking, he outshined his human co-star, James Franco, who appeared far less life-like in comparison.

WTF Movie of the Year: The Skin I Live In

In a year when reliable WTF directors David Cronenberg and Lars von Trier produced films disappointingly lacking in stomach-churning imagery, Pedro Almodovar stepped up with a work of pure, unmitigated deviance: gorgeous, grotesque, and meticulously discomfiting.

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There are certain movies that we watched as children that, as adults, don’t resonate as powerfully upon revisit. But then there are some movies that entrance us when we are young and work on remarkably different levels once we reach adulthood.

At the risk of exposing my youth, and striking another blow to my own credibility, for me, Hook was just such a film. As a kid, I loved the physical comedy, the swashbuckling, and the unmitigated cool of Rufio. But the movie took on an entirely new life for me when I revisited it recently, thanks to Netflix’s Watch Instantly. We highly urge you to revisit it yourself.

Who Made It: Hook is yet another in the cavalcade of classics from the incredible Steven Spielberg. Hook was Spielberg’s first film of the ‘90s, leading off a slew of some of his best work: Jurassic Park, Schindler’s List, Saving Private Ryan. The ‘90s were definitely good for Steven.

Who’s In It: The cast of Hook features a pirate shipload of talent. The film stars Robin Williams in the lead role of Peter Banning, supported by the likes of Dustin Hoffman, Julia Roberts, Bob Hoskins and Maggie Smith. Spielberg has demonstrated a knack for assembling unique ensemble casts. Hell, even singer Phil Collins shows up at one point.

What’s It About: Peter Banning is a man sadly more devoted to his career than his family. He is constantly breaking promises and failing to meet commitments that don’t involve contracts and hostile takeovers. While visiting Granny Wendy, the woman who ran the orphanage where he grew up, Peter’s children are abducted. A note left in their empty room indicates that a Captain James Hook took the children, and that Peter must come to a place called Neverland to retrieve them. Suddenly, a long-forgotten era of his past begins to resurface.

Why You Should Watch It:

Hook is a fascinating continuation of J.M. Barrie’s Peter Pan. For many of us, the only facets of the story we know come from the Disney animated version. We know that Wendy Darling, and her brothers, are transported to Neverland by Peter Pan and Tinkerbell. We know about the sinister Captain Hook, the Lost Boys, and the crocodile. What Spielberg’s film does is give us an extension of the story, a sort of “where are they now” for the beloved characters. It blurs the lines between fantasy and reality by featuring a grownup Pan who not only no longer believes in Neverland, but has in fact become amnesic of his childhood and the adventures there contained.

We get to see what has become of Neverland in Pan’s absence. We see a very bored, unfulfilled Captain Hook, played with powerful emotional complexity by the amazing Dustin Hoffman; one of his best roles in my opinion. Hook has become obsessed with the idea of another great battle with Pan and seeks his return despite how much he hates him. In this way, the character is acknowledging how their conflict defines him. For his part, Pan must reconnect with his roots in order to save the most treasured part of his new life; identity crises kind of rum rampant in Hook. We also get to see what became of Hook’s feud with the crocodile and how the hierarchy of Lost Boys has changed. It’s a distinctly unromantic examination of Neverland, which allows us to connect more directly to the weight and contours of the world of the film.

That’s not at all to say that Hook is devoid of magic, it would be damn near impossible for Steven Spielberg to make a film about Neverland without it being loaded with spectacle. The production design of the film is absolutely breathtaking; allowing for the audience to become acquainted with the full of gamut of both the familiar and wholly original nuances surrounding Neverland. The design of the Lost Boys’ tree houses, the massive and foreboding skeletal prow of Hook’s ship, right down to the rainbow-colored fluff of the Lost Boy feast give a new visual fingerprint to an age-old tale. The cinematography as Pan first learns to fly, sweeping and unbridled, is a perfect tribute to what made us fall in love with this story as children.

Whether we like it or not, we are not Pan and therefore must grow up. But fortunately our appreciation for films like Hook mature right alongside us.

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The past couple of weeks have not been happy ones for Communityfans…aside, of course, for the fact that the last two episodes of our show were unabashedly awesome—and in two very different ways. The unhappiness I’m talking about is of course resultant of NBC’s action of benching the series for the midseason, which has stirred a great deal of anxiety over the possibility of Community not getting a fourth season. But there is a glimmer of good news for the lot of us devoted Greendale supporters: Hulu Plus has struck a deal to stream all three seasons ofCommunity. Right now!

For the lot of you out there who are Hulu Plus subscribers (which is rapidly becoming an increasingly promising membership to indulge) you, as of today, have every single episode at your disposal. You have the sweet and simple but retrospectively well-thought-out pilot. You have the entire first season’s evolution from riotous character study to an examination of the mechanisms of film and television. And you have the second season, which further still expanded its range, knocking out the very idea of formulaic television, all the while really beginning to delve into its way-more-multifacted-than-we-thought characters. And now, its third season: perhaps the rockiest season, but a season with highs higher than its lows are low. A season that is really, unapologetically carving into its characters and the precious group they so toxically embody and rely on, delivering to its viewers a sincere (albeit, regularly hilarious) take on what it means to be a human among other humans. And, of course, it’s still very much about television.

So, basically, Hulu Plusers have quite a treat on their hands. For those of you in this category who are already fans of the show, there need be no explanation why this is such good news. For those who haven’t yet given it your attention, I offer a personal recommendation. And if that’s not good enough for you, the slight ratings boost that last night’s heartwarming “Foosball and Nocturnal Vigilantism” earned should rope you in!

But who knows? Maybe Hulu Plus will help to spread the favor on Dan Harmon’s work of art, roping more viewers and higher ratings in for the network broadcasts, and heightening our hopes for more Community to come. On behalf of the “Six Seasons and a Movie” movement, I thank you, Hulu Plus, and all your open-minded subscribers.

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