This may be true, but LOST also became lost when the show kept bending over backwards to justify the characters not killing him. I know the last season is vilified, but as far as I'm concerned the show turned a corner and never recovered when Ben Linus lived after the end of S3. Jack was about to off him and was…

This summary only underscores my ongoing pretense that the show ended after season 5. Ross becomes a shouting, unbearable caricature. Joey and Rachel? The less said about that, the better. And so on.

I don't think it was the ambient heat that was making you blush.

Which just makes the work Cox has done to her face all the more tragic.

I think Ross was a great character up until around Season Five, when he transmogrified into what I called Shouting Ross. You can easily trace the show's drop in quality with Schwimmer's increasingly one-note delivery. In the early seasons, I'd argue Ross had quite a bit of nuance and depth, but as the show…

I don't agree. I was far less progressive when the show started, but I always felt that Susan was portrayed as a strong person who refused to be ashamed of her role and orientation…and that she, in a very human way, had jealousy issues with regards to her SO's ex.

"Love's Labor Lost" is all emotional manipulation that does not stand up to even ER's later seasons requirement for willing suspension of disbelief. The acting was fantastic and yes, they did a wonderful job ratcheting up the tension and tragedy. But for me, its impact was fatally blunted by the episode requiring us…

"Love's Labor Lost" is all emotional manipulation that does not stand up to even ER's later seasons requirement for willing suspension of disbelief. The acting was fantastic and yes, they did a wonderful job ratcheting up the tension and tragedy. But for me, its impact was fatally blunted by the episode requiring us…

Yeah, this is probably my favorite episode, after "Exodus." Clooney and Edwards are perfect here, and we get a full hour of character exploration and growth for both of them. Carol turning up at the end always gets me.

Yeah, this is probably my favorite episode, after "Exodus." Clooney and Edwards are perfect here, and we get a full hour of character exploration and growth for both of them. Carol turning up at the end always gets me.

"Mystic Rhythms" is possibly my favorite Rush song.

Well, I've been both a teenager - a fairly insecure one, at that - and a self-centered 20something. (Quite a while ago, but I _was_one at one time.) Of course seeing yourself even in a character's weaknesses and faults is valid. For me, the film simply failed to give me _any_ reason to care about what happened to…

The vociferous defending and trumpeting of this movie online really astounds me, and it's pretty much the go-to example of "if you don't get it, you're stupid" films now.

I think Grace Under Pressure, while sounding pretty dated, remains a very strong follow-up and refusal to simply repeat Signals. And there's not a bad song on Power Windows.

Scott's dead on, and even a little kinder than the film deserves. Not only does the film fail to sell us on a Flowers-Pilgrim romance, immature or not, it fails to sell us on believing Pilgrim is passionate and fierce enough about _anything_ to do that kind of battle. The film is a technical marvel, editing, CGI, and…

Despite Peart apparently not really having to suffer from living in the Canadian 'burbs, as a 14 year old Midwesterner, hearing this song when it was first released was an epiphany. Amazingly dead on for how it felt growing up at that time in American suburbs.