ZMF, they should put that on the fucking masthead.

"Someone out there who does it better" - yes, and a lot of those people I was introduced to by Gaiman. Never would have heard of Jonathan Carroll if Gaiman hadn't plugged him on his blog. So he gets points for knowing his influences, right?

Flawed, but I liked it too. It had a grander ambition than Norton's, and the cast was wonderful. There's no excuse for the hulked-up poodle, though.

House of Suns tracked weirdly for me. I was "Wow! This is exciting! Ideas and characters!" And then, "huh, I guess we're still throwing ideas around, but characters are sort of running dry." And then "was there a plot? Let me flip back here. Why are we still talking about a dollhouse?"

That moment with Giles is pretty spectacular.

Jed, you idiot! That's my absolute favorite Spike throwaway.

The sustained insanity that closes Opera (god, those backdrops) makes it absolutely tops for me, above even Duck Soup, which I recognize as the stronger film. A Night At The Opera was also my introduction to the Marxes, so that skews my judgement. Heck, along with Fish Called Wanda and Looney Tunes, that's my entire…

Don't know if the Voyager Borg eps went into the backstory; but what I always gathered was that there WAS an emotional impulse behind the "expand, consume, assimilate" drive, something that came from whoever was the Borg's original race. They constructed the machinery to fulfill their desire. The Borg, as an enemy,…

There were some seriously funny moments in "Family"; that was immediately following "Best of Both Worlds," so the comedy was providing a break from the tension. All they had to do to be funny was scrap the setting, central premise and cast of the show.

Sir Gentleman, that makes me think fondly of "Long Kiss Goodnight." I mean, it's too bad the movie sucked, but rolling ultra-deadly hottie and soccer-mom into one character is a nifty hook.

Yeah, it straddles the line.

Drinky, I also will nudge you on Very Long Engagement. It's streets ahead of Amelie, and I think it stands with his very best.

Chuck's s2 finale was pretty close to the best thing they've done, so… if it didn't work, it's not for you. On the other hand, it was payoff to a lot of long-building stuff, so you might try again with a more stand-alone episode.

Time's Arrow leads to the brilliant JAndew edit gag that dubs all Twain's dialog with his endless "Heh heh. Mmm-mm. Haaa. Hmm. Hoo-HA!" For that, they are the greatest TNG episodes.

I'll happily listen to any of 'em start to finish: TWIN CINEMA, then Challengers, Mass Romantic, Electric Version.

"Dragons are fantasy" is his defining moment. The way Starr plays it, Roman knows exactly what he's giving up. It's just what he has to do to maintain his sense of self. I don't like Roman, but I do love him.

Professor, I was thinking after last night's (US) episode that Eleven is a little bit like Nine and Ten mushed together. That's a reduction, of course, he's his own Doctor. But yeah, I see a lot of Eccleston's performance in the open hostility.

I'm loving Smith, he carries so much internal life. His line readings are much snakier than Tennant, and as others have pointed out, the effect is quite alien. Tennant was excellent of course, but very showy 90% of the time, with effective but rare hints of the darkness.

Doctor Who cheerfully ignores any part of continuity that doesn't serve the story. I love that about the show.

I love the songs on Pop, they just weren't performance-ready when the album was cut. U2 quietly re-recorded and released most of Pop, on b-sides and the like, and THAT shit's amazing.