avclub-c98ef9c7736abd148cbdbd858f62b151--disqus
ianrast
avclub-c98ef9c7736abd148cbdbd858f62b151--disqus

Also, Arya has been extremely calculatedly written to be appealing; she's active, more consonant with the appeal of the series and never doesn't hit a note to flatter us enlightened moderns. I've read to a point with the books that the series has superceded, and while I'd never claim them as literature, they're

I think they handled Britta spectacularly, to the point where she was one of the best sitcom characters you were likely to come across, in late season one and early season two. Partly because they mined what made her unwelcome in the earliest episode for laughs and partly because they saw how great Jacobs was at

Point of pedantry: Andrea didn't vote for Matt the first time he was eliminated.

Dolly in Vanuatu had that exact thing happen to her,

Of all the people I never met, Scott Miller was my favourite.

"My life is as good as an Abba song. It's as good as Dancing Queen."

I didn't mean economically or even politically; just plain, old mimetically. It'd at least be something if underlying the movement was something as half-baked as an ideology but it's really just a case of "I guess I'll be like them".

Malinger, the U.S. doesn't need to invade and colonize Ireland; Ireland is positively tripping over itself to reposition itself as a liberal, East coast state.

Rachel Weisz's peformance in the Brother's Bloom is one of the greatest screen performances I've ever seen,

I don't even acknowledge the existence of probability because did you hear Pascal was a Jansenist?

Somewhere was under-worked; Marie Antoinette, though, is really accomplished. It's not just a lovely depiction of someone cycling through different strategies to ward off dissatisfaction with her life but it wears the viewer down with her consonantly too. Just awfully good.

I haven't felt like this year has fallen off a cliff because I thought that happened last season; a lot of the charges laid against this year - off, cartoonish characterisation; shopworn, formulaic plotting; a general lack of rigour in landing the jokes - were all manifest last season too.

I think Gillian Jacobs is the best actor on the show but her performance has travelled so, so far from the performance that made Britta such a great character that I'd prefer to see her properly marginalised.

She had reason to believe Shamar would, for some bizarre reason consonant with his unpredictability, flip; she had reason to think that Hope, Reynold and the other guy would ally with whomever they could to stay in the game; she had reason to think she was a likely target because of her weakness; she had reason to

I like returning players; you've immediate investment if you like the player. And I can see why the producers like it because they know what they're getting: rather than hoping that the person they liked in casting, in wildly different circumstances, is similar and capable, they have a more thorough yardstick of what

I like returning players; you've immediate investment if you like the player. And I can see why the producers like it because they know what they're getting: rather than hoping that the person they liked in casting, in wildly different circumstances, is similar and capable, they have a more thorough yardstick of what

From Probst, it seems like the aesthetic behind the casting was "Showcasing "lost" players" (If you believe him; he's done plenty of retroactive ass-covering for casting choices in the past)

From Probst, it seems like the aesthetic behind the casting was "Showcasing "lost" players" (If you believe him; he's done plenty of retroactive ass-covering for casting choices in the past)

I thought it was fine but only because Haneke's style is odd. I thought it was really detail poor and as you'd expect and the characterisation was as perfunctory as it could get away with. And the penultimate scene was out of a Lifetime melodrama (in content, if not style)

I thought it was fine but only because Haneke's style is odd. I thought it was really detail poor and as you'd expect and the characterisation was as perfunctory as it could get away with. And the penultimate scene was out of a Lifetime melodrama (in content, if not style)