Too right. Although "who fucking cares" is perhaps the wrong rhetorical question to bring to the AV Club comments.

Huh, what? I guess you could read her wanting to get Jesse in on her next job as nothing more than a ploy to get back together with her ex, even though I don't think the episode quite bears out that interpretation. Given the existence of that job, by its very definition, any romantic ambition couldn't be her "only"…

Pff, they're all old. Gonna be dead soon anyway.

Urgh, that Inhuman make-up.

Judging by this first episode alone (a very small sample size, I'll admit), I'd say the changes to Tulip is as good a case for why an adaptation shouldn't be judged by its fidelity to the source material as I've ever seen.

That's a lovely take on Ennis, although I take issue with the "less structural skill" part. I hadn't read much of his work since falling off the Boys train a few years into its run, but coming back to it (and various other things of his) recently, the thing that's struck me the most is precisely how impressive that…

I think they've made the right choices there, prosthetic-wise; their goal shouldn't be to depict a real-life Arseface, it's to depict an Arseface that works in this medium. For the character's relentless optimism and decency to come through on the screen, the make-up has to allow the actor room to be expressive (more…

That was who that was! I hadn't got around to IMDBing him yet; thanks for sparing me the "trouble". Lovely casting of both those guys (the other one's (spectacular Brit TV face) Tom Brooke), and some nice touches on the costuming as well. The pith-helmet-pushing-down-the-ears look is never wrong.

Hated the accent because it was too broad, or inaccurate? I suppose Gilgun being northern doesn't necessarily make him any better suited to doing that accent than any other non-Irish person, but you'd think it might give him a slight leg up.

I'm looking forward to "gat dern" myself.

The look on the girl's face as Tulip drove off… I'm actually kinda tearing up just thinking back on it. Splendid acting (and casting and directing and editing).

That fight scene was perhaps the one where it felt like prior knowledge of the source material enhanced my experience of the episode the most. It was lovely scene, but

With you on the a-Ha track. Aside from the great songwriting, the production is lovely. The gated drums and plastic synths somehow fit perfectly with Barry's big time movie orchestra.

It's not an album, but the Polymers Are Forever EP is one of my favourite releases of theirs. "Dry Hate" is a spectacular song, and has (sadly) grown even more relevant in the five years since its release. In a catalogue full of cutting lines, "It's a shame that you came when the lights were out/you can always be…

"Kill her baby"? Really?

I'm all for snarky commentary in Newswire posts (RIP Sean O'Neal), but this one was just shockingly heavy-handed and lopsided. I don't fault Vanderbilt for coming down on the side of Ocasek and the law on this issue, but writing about it like homage and reference (or thievery and plagiarism) hasn't been part and…

I've been listening to the Celebration Rock podcast since he started it up this winter, and I'm sad to say that I'm still waiting for the first mention of That Sweet Laurel Canyon Sound.
It's a good podcast, though! Very rock-centric, but since that's kinda its mission statement, it's hard to fault Hyden for that. Nice…

When Drew McWeeny wrote about the trailer over at HitFix a while back, he mentioned how he'd read Mathison's script, and that we was crossing everything he had that it was going to make its way to the screen unmolested, because of how amazingly it was. It's heartening to hear that Spielberg might very well have…

Produced by Steve Albini!

It's a tough one, given the medium's weird dual nature (ludic and narrative, depending on which game you're looking at, often both at the same time).