"the way that unchecked nerdery becomes just another kind of machismo"

They only bi-curious teen male I can think of was Tony from Skins U.K., but if I'm not mistaken they took out that aspect of his personality in the American version. Also, now that I think of it there was also a character from the British film, the History Boys who was bi-curious as well. Maybe the Brits are a little…

Cartoonish was what I felt the show often drifted into before. I don't expect complete realism, but I felt a lot of Frank's misadventures and the constant last minute schemes to save the day were really pushing it at times. But what bothered me most about previous seasons is that the season long stories never felt as…

I never got the impression that Mickey was genuinely bisexual. A gay or straight person may still be able to have sex with someone who's outside their usual orientation. Many gay people stay in the closet for years, able to perform in bed, but not really enjoying themselves all that much.

I've always felt that the level of importance an ending has completely depends on the type of show you're dealing with. It doesn't bother me that I have mixed feelings on the final season of the Sopranos and I won't be bothered if the ending of Mad Men is terrible because those shows were not plot heavy shows and each…

I view Marlo's last scene very differently. He is given this chance to walk away from the drug game and make millions of dollars legitimately. And what does he do? He leaves and goes down to the nearest street corner where he fights two random punks and runs them off. He's not angry at all afterwards, he smiles, licks…

A lot of people say this, but honestly I think they're just projecting their own feelings onto Vince Gilligan. A couple of years before Breaking Bad ended I heard Vince say that he thought of MASH as having the perfect finale and just based on that I could pretty much guess how BB would end.

This is one of my favorite episodes of the series, but its ultimately weakened in hindsight, but the way it is so obviously retconned in later seasons.

What I mean is that the film wasn't like True Detective where each scene, with rare exception, took place from the perspective of either Rust or Marty. The film begins with Tommy Lee Jones's narration, but then the film shifts to Brolin and Bardem's perspective for long periods of time.

My only issue with the ending is that the confrontation takes place entirely off screen. I don't know how it was done in the book, but it just didn't work for me in the film to show this game of cat and mouse with so many deadly confrontations only for it to be resolved without our seeing it. I'd be fine with what…

This is one of the film's where I can understand if people hate it, but it resonates with me in a way I can't fully describe. My only real issue with this film is the ending. Once the Driver goes on his rampage things get increasingly more gruesome and chaotic all leading up to the final confrontation, which just kind…

Yeah, Drive is a pretty good example of how an auteur director can take a pretty average script and turn it into something special. In the hands of a lesser filmmaker, no one would remember this movie.

Yeah I'm still not buying that Mickey wouldn't have a strong reaction to Mandy's boyfriend beating the crap out of her. He was ready to kick Ian and Lip's ass in season 1 when he thought they mistreated his sister, but he just lets this go? It's even more jarring that hes so dead set on getting revenge on Kevin over…

I'm not saying you're wrong, but how are you so sure that it was an edit? The director said he had two places where he could have an edit point if he wanted one and you can definitely see the points he choose, but he insists that what we saw was one unbroken shot.

No, I didn't necessarily need a completely bleak ending. But when I listen to Rust's earlier speeches about how he views life and the fundamental problems with it, there's nothing about the experiences he has in this episode that would lead me to believe that they would really change him even if they gave him closure.…

But even if Rust first stumbled onto his worldview because of his daughter's death, that doesn't change the fact that most of what he was saying was grounded in legitimate scientific and philosophical thought. Conversely, it would be like someone who became religious after a traumatic experience suddenly deciding that…

To be clear, I didn't necessarily need a completely bleak ending from Rust, but if you look at the interview Pizzolatto did with Sepinwall, he said he wanted Rust to gain a sort of optimism without delving into illusion or sentimentality and on that level I think he failed.

I consider them heroes because despite having several opportunities to walk away from this, they continued to risk everything to catch the killer. They're definitely flawed people and their methods were often questionable to say the least, but I don't think you necessarily need to be a bastion of morality to be a hero.

Honestly I feel like each season should be judged almost as another show. It won't really make sense to compare the first 3 seasons of this to say the first three seasons of the Wire because one is a consistent story and the other is basically 3 separate mini-series. Rating this show after 4 or 5 episodes seems…

I always saw Rust as someone who was very well read when it came to philosophy and that the death of his daughter was merely the catalyst for him to begin exploring new ideas. People who experience traumatic events often reevaluate how they see the world, but Rust's musings always seemed like the honest conclusions he…