Tonight's episode was a masterpiece of pacing—so slow. Things happened—the finding of the gun, the cleaning of the garage, the power-struggle at the Gerhardt house. But nothing got resolved—like the stopping of Milligan on the road (anybody else thinking of Malvo giving Patrolman Hanks his friendly advice last season…

Clarified via editing. And for the record, I have never done anyone a 'fucking' favor; I don't believe that within my capacity.

Shee-Pah-Town. (Just lop off the "tty" from Shitty, and the "rt" from Part.)

Watching this season has been a terrible experience for me.

The second Ed and Peggy sat down to dinner, I turned to my wife and said, "There is nothing more dangerous in this world than an unimaginative man who loves a discontented wife."

Also, a nod to the end of The Man Who Wasn't There.

I am occasionally asked—less so, these days and no wonder—why the A.V. Club didn't just hire me to review this show. There are a lot of good reasons why not, needless to say, all of which end with the phrase, "And who the fuck do you think you are, Mr. Husk?", but one that came to mind tonight was this:

That's an excellent point, though maybe it's as much to do with a divided narrative commitment as with lack of material. It seems to me that you can't have a standard, open-ended series that also wants to hew to a historical timeline, because the required "progress" of dates, events, etc. inevitably fucks up the…

Oh, fuck it: Just cut-and-paste everything I said last week about this week.

Just to echo what others (shoutout to cabspaintedyellow, especially) are saying:

You are, of course, correct, on both counts. And it's worth noting that this mistake of mine is unfair to Young Master Masters, since Johnny, for all of his hatefulness, actually possesses a personality, while Bobby…look, Matt Weiner apparently can only write one compelling child character per series.

Well, I'm not sure I "advanced" so much as "mentioned" it, and I'd stand by my implied assertion that the gesture of something as ridiculous as flashing a sexually uninterested gorilla stands up to comparison with water-skiing over a captive shark.

It’s becoming harder each week for me to write thematically about this show—a fact that I suspect will not come as a disappointment.

That's more than fair—the "theme" kinda ran away with me, and I didn't keep it focused on the episode. Tail really wagged the dog, this week, and that's on me.

A bit, maybe, but the way Bill characterized it as essentially hijacking
the judgment of the sniffer—literally tricking the other person's body
into wanting sex—I'd say that's the implication. The efficacy of
Spanish fly is a myth, but if it were real, I'd call the non-consensual use of it pretty rapey, and that's…

So I watched the woman sniff at the scent tube (a statement that sounds far filthier than it is), and I said, "Well, this episode's gonna be about failure." And lo and behold.

And yet I am constantly visited by Jesus in tears telling me to 'stop that, for pity's sake stop that, he's always watching and he can't look away.'

It's the hallmark of very good writing AND of very bad writing that, when someone asks you, "What's it about?", you don't go to Themes or Meanings—you immediately begin to describe the plot.

Well, and, in the words of Dale Carnegie, "I know exactly how you feel." Only, you know, unlike Bill, I actually do. Whether or not we respond to a character is entirely subjective; there are all sorts of reasons why a character (or, more largely, a show or a movie or a novel) resonates with each of us, or not. (I…

The problem with criticizing a review here is that one is immediately suspected of bias, either in favor of an episode that received a low score, or the opposite. Plus the inevitable—and, to be fair to the internet experience, not without cause—assumption of some form of personal prejudice against the demographics of…