I did get the reply. I still see it on my Disqus history and on the review page, in all its glory. It's sweet of you to thank me; you're pretty adorable yourself.

Once this show is over, @avclub-3e4d20980bad82814414cb12fecc0e18:disqus, I think I'll miss you most of all.

Weird and fascinating parallel between Art warning Raylan of the possibility of a bullet and Boyd actually giving Dewey one.

No, it's back to Abigail.

Rachel in charge, fuck yes.

"In short, there are worse ways to kill a couple of hours than watching
actors have fun with noir tropes in luscious, color-flecked black and
white." I have to say I wonder why more folks don't feel this way about the second Sin City movie — though I say this not having seen it yet. I'll get to it soon. Perhaps…

In all seriousness, Under the Skin was actually one of 2014's surprise discoveries for me. I feel like it's one of those films that falls apart if you look at it too closely, but the first half especially is marvelous, the images at the end are chilling, the special effects (you know what I'm talking about) gave me…

Agreed. I was okay with the growing pains as we went through the plot, but that blatant play to the fandom turned me right off.

I know what you mean. End Zone was my first DeLillo, and I think the bewilderment I felt when I first read it is why it's stuck with me. That, and my affection for Gary Harkness as a character. Speaking of affection, what you say about great emotion is astute. I'd point to The Names as an example of what happens in…

Meant "squeezed in" to say I managed to get a reread in between all the new books on my shelf, but it sounds pretty arrogant now that you point it out. Sorry.

Made a small dent in my reading list with Jenny Offill's The Dept. of Speculation — as good as everyone says it is — and all of Lars Iyer's Spurious trilogy, as well as Mary MacLane's I Await the Devil's Coming. Also squeezed in a reread of DeLillo's Underworld. Starting on Sarah Bakewell's How to Live: A Life of…

"Carver’s realization about Tom at the end adds some valuable tension: Carver and Ellie are not comrades at the end, as in Broadchurch; in Gracepoint, they’re adversaries." Having watched all of Broadchurch and none of Gracepoint, this has me intrigued about the latter. But there's also the general tenor of the other…

As poetic as the Tara/Jax-Gemma/JT portrait at the end of season 4…

Yeah, I was disappointed to see so many episodes from the later seasons.

I dunno. Reading this recent interview LaBeouf did (http://www.dazeddigital.com… ), I actually found myself thinking that his dumb schtick seems to have yielded a halfway coherent worldview. (There are still some healthy doses of vapidity and offensiveness, though.)

It's actually fitting for someone who fetishizes suffering the way Kurt Sutter does.

Corrected, thanks to other commenters. And I meant the accent thing only as a note of appreciation for its accuracy, as a person frustrated by its frequent butchery elsewhere.

Nice to have an appearance by Ron to add to the season’s string of great cameos. Also, credit to Kumail Nanjiani as Skip—manner of speech, attitude, everything was great.

Aww. I'm actually disappointed by this—Matt Ryan's performance is pretty delightful.

True. Though @Sean_C may have been talking about resolution in general, rather than a happy one — which I'd understand, given how ambiguously Beloved's ultimate fate might read.