Hank's willingness to torpedo his own career is quite admirable, but I think the "morals of Superman" award for this week must go to that old dude from the opening sequence, for going to the cops with that money.

"There's still the far more serious problem of your husband."

Homer's bar tour is one of the more inspired bits in the show.  It's what I think of whenever people mention a lesbian bar.

Man, this must be some kind of record for speed of descent into pretentiousness.

Mark Millar is a "cool moment" writer, and he's very good at that.  The Ultimates and Civil War has a ton of really iconic imagery.  But, much like Garth Ennis and Frank Miller, he has a tendency to be extremely indulgent of puerile inclinations.

I've seen a lot of comparisons to Forrest Gump, but Forrest's "influence" on history was played for laughs (and his meetings with actual historical figures were almost all brief jokes using existing video footage).  This movie uses a bunch of (largely bad) impersonations, and pitches the protagonist's role as a…

One imagines that the Sorkin version will be a superior movie, but also more technophobic.

Curse Steve Jobs for ruining that joke by making Apple relevant again!

I'd still love to know what the point of that was.

One thing I would say about homosexual male vs. homosexual female representation on TV is that it seems to me that gay male characters are more likely to be planned in advance compared to gay female characters (that is to say, to be conceived of as gay from the start).  This has consequences for how they're depicted,…

Because that behaviour is infantile and contributes to much of the genre's least-flattering characteristics?

Mine was more a general comment on the stupidity and immaturity of "diss tracks".

It would be nice if rap could mature to the point where artists weren't constantly picking juvenile fights with each other.

Bad Guy is such a weird movie.  The story and setting make it seem like it should be a gritty, realistic story, but it's just as opaque and full of confusing narrative constructs as his other movies.

My favourite description of the end credits music for The West Wing was "off we go to grandmother's house".

The issue with Josh and Donna was the endless circling around it, like an 80s show that would never allow real divergence from the status quo.  People wanted Sorkin to actually go somewhere with it, or stop.

The article makes some good points, but I disagree with a lot of the value judgements.  The show's use of black comedy alongside its human drama livens things up, to me.

The thing is, the show presents Mike's ranting at Walt as justified and honest, but they really don't jibe with what actually happened, particularly since Mike likes Jesse, the actual root of the problem.

This episode almost reached Homeland levels of blowing through plot points one would expect to be teased out longer within a single hour.

Washington's indignant, high-pitched "NEVER!" in response to the demand for all his money is one of my favourite line deliveries on the show, just in terms of how funny the delivery makes an on-the-page-unremarkable response.