Great points!

Unfortunately, hatewatching can be a self-fulfilling prophecy - once you've decided to pick on something or someone, it's very hard to get out of that mindset.

Ditching a standard case-of-the-week structure in favor of giving arcs several episodes to play out have benefited both shows immensely.

In three brief scenes (and two of them are also sketching out the villain's machinations), they managed to suggest a whole believable, affecting emotional landscape for a secondary character. Great job by the writers and the actor, and I really appreciated that they had him fighting back just enough - a subtle but…

I just loved the tiny mental freakout the agent has - he doesn't even know how to describe it. "She's…going down the stairs! Fast!"

And now you have an inkling as to why Wally's erasure since the New 52 (even before, actually) has been painful, especially for those of us who watched the character mature and grow over decades.

I still think 52 is a pretty good model for how DC should approach not only its event comics, but its whole idea of themselves: it was pulpy as hell, shifting from sci-fi to noir to comedy to horror even within a single issue; it let their smaller characters shine, and had unconventional pairings bounce off of each…

Behind-the-scenes reasons aside, there are strong narrative reasons to go with Barry over Wally on the show: more than most, Wally West's status as a legacy character (inheriting the mantle from Barry) is a deep, inextricable part of his entire story. He started out as a teen hero - Kid Flash, who was brash and cocky…

Great list, but the person did say "superhero comics".

That absolutely disgusts me in so many ways.

I wouldn't mind some Bruce Lee anecdotes. Time to trawl through the archives!

*kneels*
Dear God in Heaven, I don't ask you for much…

Ironside can sound cold and dispassionate without sounding flat. By the same token, I find myself disappointed in the likes of MCU's Thanos voice, which resorts to a stock growly bluster - whereas Ironside can communicate far more menace with just a bit of pause and subtle accentuation.

That's probably the development that's made me happiest in comics over the last year - the resurrection of Stray Bullets, one of my favorite comics ever made (and unjustly unrecognized!), and that it's as if he never stopped, just as you say.

"If you pledge at the $100 level, you get a coffee mug that randomly has either the word "Alive" or "Dead" appear when you pour hot liquid into it. Much like the state you're in before you have coffee in the morning, right, Doris?"

Sex Machine might be the best live album, like, ever, and I've listened to it a million times. So why didn't they rip into the far more lengthy "shout out to every city in America with lots of black people" part that comes after the "should I take it to the bridge?" bit?

Or History of the World, Part I.

I sure as hell remember Pamela Stephenson, for she is pretty much the perfect woman. She's an actor, a comedienne, a writer, a clinical psychologist, a dancer, and a sailor, and she's one of the most drop-dead gorgeous women I've ever seen on screen.

Having heard for years how SNL was a wasteland between the NSRFPT Players and Hartman/Carvey/Lovitz with Murphy the lone exception, I was surprised to note that that was actually a pretty loaded cast - though mostly because they all went on to much better things later on. (Well, maybe not Gary Kroeger.)

I fucking loved it. I wish SNL would go back to that sort of late-night kookiness in their intros (or better yet, their musical guests).