But can I interest you in a "The One I Love" with Elizabeth Moss?

Hindsight is always 20/20, especially in Vegas.

Ah, good catch. Perhaps this is why he drinks so much, to suppress those memories (and lethal magic?), but killing Mike has brought everything back up.

Dune could have been the greatest movie ever made if only Lynch had been given another $100 million or so, been allowed to secretively work on the special effects for five years, and been given another full year to actually edit his legendary six-hour director's cut.

The ordeal with Mike and The Beast has really messed him up, which is very understandable. It's likely he's never killed anyone before, and to kill someone he thought he was falling in love with, well, merde.

Nobody on film or television ever eats in a way that seems like food is actually going into their mouth, so s'all good.

So far, the story has struck me as a kind of "Occurrence at Owl Creek Bridge," as in "A Dead Man's Dream," and Ritchie's manic final days are just a cipher for the finely crafted, if anecdotal, mise-en-scène. So, as with a Tony Soprano or Henry Hill, caring about him and his inevitable fate is besides the point. We…

I liked how the jukebox ties it all together. Horace playing it is the first thing that happens at the beginning of "Act I," only for it to be immediately unplugged by Uncle Pete the second he came in. Horace playing it now, and the way everyone reacted, made me think that it hasn't been played during business hours…

Mmm… Atomic Number.. that sounded good!

Watched, but couldn't get behind The Man In The High Castle.

Well, true, it is both of those things- so it is a curious choice. But, again, I think the reason is that the set-up, as on Lucky Louie, is super easy and functional, and it allows him to quickly move from one scene to the next without thinking about the lighting design. I think it works OK, because it adds a level…

I think the stagy choice of lighting suits the intimate, character-driven nature of the show. Like the idea of the bar, itself, it hearkens back to a bygone time- not only the great sitcoms of Norman Lear's that were "recorded before a live studio audience," but also back to the "Golden Age" of Paddy Chayefsky and…

With that incredible cast in this intimate, stagy setting, five bucks an episode seemed completely reasonable to me. Alda is ridiculously good in this. The whole experience felt like I'd wandered off the street into an especially tasty production from The Wooster Group or Atlantic Theater Company. I am proud to…

The way Thawne left it, by confessing to the murder of Nora Allen as Harrison Wells, Barry needs to perpetuate the ruse to keep his father out of prison.

Remember though that Thawne completely absorbed Wells-1, body and mind, in the process of taking his identity. I'm thinking that part of the disguise was Wells' speech and personality.

"…so I have had to pay in spades for my vanity, because I ought to have understood that my feeble Rocinante could never withstand a horse so immensely strong as the Knight of the White Moon's." (DQ, Vol. 2, Chap. 66)

Would have fit with his Andy Williams fandom.