Marc Hirsh

Marc Hirsh lives in the Boston area, where he indulges in the magic trinity of improv comedy, competitive adult four square and music journalism. He has won trophies for one of these, but refuses to say which.

He writes for the Boston Globe and has also been spotted on MSNBC and in the pages of Amplifier, the Nashville Scene, the Baltimore City Paper and Space City Rock, where he is the co-publisher and managing editor.

He once danced onstage with The Flaming Lips while dressed as a giant frog. It was very warm.

[Ahoy, there be New Girl spoilers ahead, through the most recently aired episode, "Mars Landing."]

A few weeks ago, New Girl neared the end of its third season the way it began it: by admitting that it doesn't know what it's doing.

Each year's Grammy Awards offer their own questions and controversies based on how the nominations pan out, but there are a few points of contention that come up year after year. There's the difference between Song Of The Year and Record Of The Year. How a song can be eligible for nomination this year when the album it came from was nominated last year (or vice versa). The precise eligibility requirements for Best New Artist, a category that can be (and has been) won by performers several albums into their careers.

This is a big week for Mystery Science Theater 3000, or as big a week as can be had for a show that's been off the air since the waning days of the 20th century. The show first aired a quarter of a century ago this past Sunday, and the 25th-anniversary volume (XXVIII, if you're keeping Roman score of the ongoing DVD releases and not the anniversaries) hit shelves on Tuesday. Meanwhile, Thursday marks the return of an MST3K Thanksgiving tradition, the Turkey Day marathon.

The closer we get to the end of Breaking Bad, the less I want to read about it.

I'm not calling for a moratorium on Breaking Bad content from now until the finale (and not only because of ... you know, futility.) From now until then, I expect an avalanche of recaps, interviews, think pieces, retrospectives, speculations and so forth. That's exactly as it should be with any show coming to a close, let alone a show as great as this one.

As The Voice returns to NBC this week for its fourth season, viewers are seeing two new, if quite familiar, faces as Shakira and Usher occupy the coaches' seats vacated by Christina Aguilera and Cee Lo Green. Its talent-show rival over on Fox, The X Factor, will also see two new judges when (if? no, "when," surely) it comes back in the fall.

So why does The Voice seem so healthy and The X Factor so wobbly?

Whether this week's announcements that both ABC's Don't Trust The B- In Apt. 23 and Fox's Ben & Kate are being yanked from the schedules mark the beginning of the Great Sitcom Massacre of 2013 remains to be seen. It almost certainly means the end of two strong shows whose casts were clearly having a blast making them.

You Can't Do That On Film, an independently made 2004 documentary about Nickelodeon's '80s-afternoon staple You Can't Do That On Television, comes out today on DVD. It's got a treasure trove of interviews from an impressive number of the show's kid stars (Alasdair! Hey, Moose!), now adults who, almost to a person, look back on the sketch show with nothing but affection.

Are you one of the fans who have ponied up dough for a meet-and-greet with a favorite band or pop star, as is becoming an increasing trend these days? Have you ever purchased an elusive record or song on the Internet, rather than scouring used record stores and flea markets until you hit pay dirt? Did you once decide to skip a concert, confident in the knowledge that if something truly unexpected happened, you'd be able to catch it later on YouTube?

If so, then Caroline Sullivan would like you to know something: You're Doing It Wrong.

In this week's installment of the A.V. Club's "We're No. 1" series, which reexamines chart-topping albums from times gone by, Steven Hyden takes a look at Prince's Batman semi-soundtrack. While he acknowledges that it's minor Prince, hinting that it's the man's least-important 1980s release, he's surprised to rediscover that it's actually pretty good, in its way.