I think a lot of it emerges from people that like a story or idea but find the actual work really lacking in some way. (Some big pothole, character inconsistency, not liking a certain twist, the guys are just friends and don't bang each other — but alright, usually it's the last one.) I can't say I've ever gotten into…

It was really the patronizing comment about Ronan defending his sister in "140 characters or less" that got me.

Not to mention the bizarre digs at the Farrows for using twitter while Woody is so innocent and pure he uses a typewriter and barely knows what tweeting is.

I'd say he's smarter than neither, as I'm of the very un-Sherlock opinion that forms of intelligence such as practical math, science and engineering knowledge are a bit more useful than being able to tell my income and dinner plans based on my socks.

>It's like a billionaire smugly revealing how his money bin is empty, and how he's fooled everyone into thinking he's super wealthy, haha!

Somehow the show used to be able to combine Cumberbatch and (especially) Freeman doing their thing with a reasonably compelling mystery at the same time. I feel like a lot of fans have been too ready to accept that "well it's a character development episode;" the episodes are an hour and a half, there should be time…

Okay, I'm up for debate on the merit of the two shows, but you're actually just arguing that one Sherlock is smarter than the other. "My superhero could beat up your superhero" is pretty weak arts criticism.

It really is very impressive. I can't think of another show that introduced such a major character so late in the game and so seamlessly. I was prepared for her to be awful — just because new girlfriends in buddy comedies are almost invariably saddled with being the domestic or the nag (or both) — and she might be my…

Yes, and Cordelia's husband taking out all the hairdresser ladies and Breckenridge.

When Kyle is choking out Madison, and he says to her, "You're not that good an actress," he sounded exactly like his character from last year. Intentional or not, it was funny as hell.

Last season the serious material really hit that sweet spot that makes exploitation films more fun than offensive, this season missed it by a mile.

I don't know if that's necessarily because of the lack of consequences. Murder House was relatively consequence free — people could die but they were still around, ghost christmas etc — but they still barreled through plot points. There were definitely times in Murder House when I felt like they'd done all they could…

@avclub-0ae7484a9f3bbd2a21df420050c032ae:disqus , could not agree more. It grew really frustrating as the characters are more and more like, "Why isn't there a label for this mysterious thing, where she is attracted to both men and women?" There is! You can't even make it through LGBT without it! It's hard to believe…

It is probably the best thing he's done, definitely more worthy of a Watch This than to be a punchline in a write-up of Sucker Punch.

Satoshi Kon is generally a great way to go from a fan of cinema to a fan of anime. Unlike a lot of other great anime directors, he wasn't having a conversation with anime so much as with film (except Paranoia Agent). Lain, Welcome to the NHK, Code Geass and FLCL are all so embedded in the language of anime that they…

This is both funnier and more heartwarming than a mock cookbook based on AV Club memes has any right to be.

In the first season they had butch women. It was adorable.

But to pile on: "Deal with it, this is your reality, get out of your funk" is not something that you should be saying to suicidal adults, either, unless you really want to take the Prevention out of Suicide Prevention Hotline.

'Saying, "Look kids, just don't kill yourself!", completely ignores that suicide is a symptom of a bigger problem.'

I found Ponyo incredibly mediocre and don't understand why some people connected with it so much. And I still need to watch Whisper of the Heart. Anyway.