I think he was brainwashed Quinto's character the way that Miriam Lass was, programmed to respond in a certain way to a certain trigger. Hannibal was trying to maneuver Bedelia into that situation where she had to make a choice: save or kill.

I want to upvote this but you're at 69 and that seems too perfect, all things considered.

I think she has the potential to be as much of a killer as Hannibal but has this incredible intellect that helps her to control and reign in those impulses. I'm not entirely sure how to feel about to her escapades with Hannibal in Italy but there's a part of me that wonders if she doesn't view Hannibal as the wounded…

I don't think anyone doubted the potential of Armitage's casting but he's absolutely knocking it out of the park. Stellar performance.

Agreed. That it's been almost completely ignored at the awards is contemptible; the art direction alone should see it gathering swathes of awards.

In a way she's a more perfect monster than Hannibal. He was always going to get caught, his nature makes that inevitable, but Bedelia exhibits perfect control and restraint in (seemingly) all things. A deeply chilling character, all told.

Jeebus, I thought that was Herpies Goes Bananas there for a second. Thought someone had made a STD disaster flick.

I'm really impressed by Rutina's Reba. Subtle, charming, confident, and there's a gentleness there I haven't seen in Rutina's other performances. A lot of people were worried by the casting when it was first announced but I think they made the perfect choice.

He was brilliant on Millennium. O'Quinn should have gone on to great things after Lost, I wonder what happened (I still think his character was wasted at the end of Lost.)

I think The Descent would be a high-water mark for anyone. You're right, there is a mindless fun to be had with Doomsday and Centurion, especially the former (Doomsday is like some kind of fever-dream union of Mad Max and Trainspotting.)

Yes, this! The MCU movies have the blandest, most factory-produced original music around and there is no good reason why that is the case. Is there a fear of creating music that might turn audiences off? Is there just no priority on creating a decent score? Is it a mandate from the creative chiefs about sticking…

Absolutely. The Descent is kind of remarkable. I remember the audience in the cinema gasping at that car accident in the opening. Pity that Marshall never came close to that again, either in terms of quality or tone.

So she's one of the old ones from Cabin In The Woods. It all makes sense now.

But the killer is murdering a GOP Presidential slate but it's one from the future. Y'see, the killer is like a Terminator, traveling back in time to kill the presidential slate while they're teens.

I'd be thrilled if they just went with an Invasion of the Body Snatchers reference and stuck Zach's head on a dog's body.

I'd argue that Dexter season 1 is legitimately great. Told a complete story, told it well and left you feeling satisfied. After that things slip a bit: season 2 is good but a bit wobbly, 3 doesn't go anywhere and 4 has a cracking villain with some very middling stand-alone episodes.

Careful now, expressing the idea that different people have different opinions is tantamount to heresy on the internet.

As sophomore seasons go I don't think you could have asked for much better. Penny Dreadful's second outing felt more confident and assured than season 1, and displayed a much richer understanding of its characters. The witches, or Nightcomers, felt much better developed than the vampires and Helen McRory's Evelyn…

Anyone else seeing Lily/Brona as Penny Dreadful's take on the Lilith figure from lore? In the mythology she refused to be submissive to Adam and went her own way, and that's what Lily/Brona seems to be doing.

I need to know what that music was! It was so, so good.