I loved New Vegas' approach of giving you a talking stealth suit that eats health packs. It was mostly a draw-back, but an entertaining draw-back.

So you just gave Dwight Schultz a paycheck and setup an incredibly weird and inevitably failed mission to save Hitler?

It does, through it is pretty damned loose. Like a Mad Max or El Mariachi narrative soup at this point. Always ends up being the castle and what crazy things that happen after the castle (like collecting the Spear of Destiny or sci-fi stand ins for Norwegian heavy water sabotage).

I'd pick Gable in a fist fight and Bogart in a cage match. Leslie Howard wins the desert island contest, but only because he dreamily wished for velvet repose of dining on another human's flesh.

It was mostly the opposite for me. I can remember watching Roots in 2nd grade. By 6th grade it was all documentaries on rape, lynchings, and local race massacres.

Both eras have vastly different strengths. Under Moffat we've had good plots, great conclusions, and generally bad characters. Under Davies we had great characters, great buildups, and horrible, horrible conclusions.

If you stole a copy of 764-Hero from your friend's car, you are indeed a fan.

Both albums had a strong theme and perfectly executed them. One mourns and celebrates the death of Modernity, the other taps into life, death, and the Universe (the post-Space Rock album?). That's kind of the problem. After you've hit those two out of the park, other territory seems so mundane.

For a guy who has written a ton of poignant lyrics, "Baby come angels fly around you, reminding you we used to be three and not two" has to be the most heartbreaking line Brock ever wrote.

The difference are "songs that sell" and "songs we don't like, but we know they sell". The latter breeds contempt from both the band and fans. On the plus there are always B-side compilations.

They also used one of their songs on a Miller Lite ad. Can't recall the song, but there was a bit of a indie rock kerfuffle over that at the time. I think Brock laughed it off, saying that his only regret was not getting a lifetime supply of beer.

shey shaw shey shaw

Eh, it was like Good News. The depressed stuff was good, the manic stuff was good, and the content stuff was good for Nissan ads.

Have a soft spot for New Way Home. The whole soft/slow to loud/fast thing gets me every time.

I couldn't imagine a global forest being defoliated in 24 hours. Knowing the human race we'd gear up to sell everyone a chainsaw first and start a bunch of tree cults before we cut the first shrub down.

At least it wasn't Love and Monsters bad.

They've had some real low moments for his character (all the way down to the trite self-flagellation), but Shannon pulled it all off.

Remus is satisfied with his outcome.

I giddily clapped for joy. I think I'm sick.

In the end it is about giving us some time away from a period we already feel comfortable with as viewers. We spent a lot of time in '31 though Cagney movies, while the 20s are kind of murky since we tend to see it more through the lens of screwball upper crust comedies. 1884 lets the show flex its period piece…