Nobody gets the drop on Longmire. He's old, crusty, and stuck in his ways, but there's not a better lawman west of the Mississippi.

I don't really understand why they even signed Lucy Lawless up for that episode. I remember watching the premier thinking, "Hey, that's Lucy Lawless.! I'm glad she's going to be on SHIELD from now on." And at the end I'm like, "Wait, is she dead?" I wasn't so much shocked as annoyed/confused. So if they were…

Wake me up when King Kong fights Donkey Kong. That's the reboot the people deserve.

"[W]e get no sci-fi equivalent of Augustus Gloop getting sucked up a pipe, or Veruca Salt expanding into a human blueberry."

Just this interview managed to melt my brain. I can't imagine what his TV show is like. Half the time I wasn't sure what he was upset about. I honestly don't know why he became so upset at the end of the episode. Wiseau seems to be a sensitive man.

The Marvel films are studio movies through and through. There's little room in their world for a strong, distinctive voice. That doesn't mean the movies are bad. In fact, there were plenty of great movies coming out of the Hollywood studio system in the 30s and 40s. I enjoy a well-made studio film every now and again.

In related news, I recently found out that Netflix now has the rights to stream Saved by the Bell. It's awfully convenient that Screech is now in the news just as the billion dollar streaming service has gotten a hold of the early-nineties classic sitcom. I'm not saying that Netflix engineered Screech's stabbing and…

Hey! It's the one thing I like but combined with something else I like. That's pretty neat!

I have to take issue with one thing: in 2015, no one is looking forward to an album by The Cure.

I love the Woods, but I do think it's overcompressed. This doesn't make it a bad album, and you're right that Dave Fridmann does this on just about every album he makes. For me, the overcompression flattens the music some. It's still a great album, but that would be my one criticism.

By prestige, the author means the show is marketed and viewed in a certain way. Culturally, a prestige show has a sense of weightiness to it. In actuality, though, a prestige show can be a bunch of pablum, like the Newsroom.

I was going to complain about the writers calling the Sleater Kinney album, The Woods, "just-okay," but plenty of right-minded, sensible people have already done this for me.

These days I only watch Simpsons episodes when I read moderately positive reviews. But a D+ is so bad that I almost want to watch it to see how bad the show has gotten over the decades. So, I guess, good job, Simpson writers?

The Bechdel test has done a wonderful job of demonstrating the dearth of female/female relationships in modern cinema. When looking at cinema on a larger scale, I think it's been beneficial.

I've enjoyed Tsui Hark's foray into Hollywood by way of Shanghai CGI spectacle to varying degrees. But, man, some of the special effects are painful. I know Hark isn't going for realism, but sometimes I wish he was a little more aware of his limitations.

Hey, we're all wrong now and again. But when you decided to be wrong, you really swung for the fences.

For the sake of equality, I demand ghost cunnilingus in the new film!

"Come at the Kingpin, you best not miss."

I don't care what Paul Feig does, so long as Ernie Hudson gets a cameo.

There are plenty of problems with Spiderman 3. The film has too many villains and there's a tad too much melodrama. But emo Parker and the Tex Avery antics at the club were pretty damn funny. I never fully understand why that has been the go to example of why Spiderman 3 supposedly sucks.