Final part of A Touch of Cloth is on Sky1 tonight. The first part was absolutely terrible, but I'll still be checking this out.

I thought she was really good in Take This Waltz - just a relatively muted and low-key role (compared to her other stuff).

@avclub-eaff9f19dbfd5c5a5807b5dbfa656ec9:disqus Seriously though, watch it and form your own opinion. I think the film at least needs to be experienced purely because of its unrelentingly bleak vision. Seek it out.

@avclub-4fdd6fbd220e26b63a7c9a5aa88f5f31:disqus , ok, maybe I missed the point, but isn't the POINT that they can't escape? When Naomi Watts' character has a chance to escape she doesn't hatch out a brilliant scheme to save her husband, she acts stupidly and impulsively, like so many 'final girls' before her, getting…

Mad Men, Top of the Lake, Rectify, Girls, Veep, Game of Thrones.

Although I'm glad he figured out that the ending didn't work, I feel bad for him too. He just seemed so sad when he was talking about it not quite landing.

I remember my dad telling me about that one. I'm not even sure how he got his hands on the episodes - we're not from the US - but I really remember him relishing the horror of the story when he told me about it.

For the big shows - GoT, Boardwalk Empire, Girls - the nudity is often superfluous, but a lot of their smaller stuff have almost no sex and nudity - Enlightened, Veep.

I remember when I saw The Strangers in the cinema. During the first BIG fright sequence, when all shit suddenly hits the fan, people were literally running and screaming out of the cinema. The atmosphere was electric and it was such a fantastic moment.

Well there were those two anthology horror shows during the mid 2000s. One on Showtime and the other on NBC but neither were great. FX, Sundance, HBO all seem like a good fit for a great new anthology series.

I think Maeby's story had pretty much all the pay-off of the time jumping narrative and was, in my eyes, incredible. But a lot of the time, it was a chore to get there. And most of the story lines that jumped in time were completely unnecessary.

I remember absolutely losing it at that scene the first time. It's just incredible. The scene just beautifully escalates, not simply in the direction of the car but in Bob and Tina's increasing panic.

Maybe I'm just too darn sentimental, but my favourite episodes of the show have always been those devoted to softening up Louise a bit and showing her relationship with her parents. "Spaghetti Western and Meatballs", "Mother Daughter Laser Razor" and "Carpe Museum" are pretty much a perfect trifecta of comedy and…

Here goes the hair
There goes the hair
Where is Harry Truman?
He's dead in the ground
He's dead in the ground, OW OW!

Well, c'mon. How many of us can say that we know how to use email?!

I love that the episode is built on a solid foundation like that. If it were a lesser show (like Family Guy), the event would have been entirely random and loose, but The Simpsons still manages to tell a story of (however slight) of Homer's yearn for acceptance. It's small, but it really adds to the episode.

Awww, I wanted the black one!

I don't get this reference. Is it some sort of in-joke or just an off-hand comment like Rory Calhoun?

OWW! Cut it out Bart.

Next week is "And Maggie Makes Three". "Lemon" is fantastically funny, but "Maggie" is just so sweet and tender, the kind of episodes that The Simpsons did better than almost anything else on TV.