I'm getting a little tired of the musical interlude montage things going on just a bit too long.

I noticed it right away but it was the guy's twisting and turning and yelling so much that tipped me off. What I like is that it works whether you're on to it or not.

My money's on lady lawyer getting really killed somewhere along the way.

Did you not notice that none of those characters from "the south" batted much of an eye over the relationship, not even Darryl? That's pretty much how it is here in north Georgia. Don't know about the rest of "the south". I've met some pretty anti-gay people in New Jersey, though, so I'm sure there are some anti-gay…

My suspicion is that the people in the compound are good but are under some kind of attack, possibly from the torso ripping, "W" carving gang who killed everyone in Everyone Hates Chris's neighborhood. Aaron and Eric have been out searching for people who can protect them. Kind of a Seven Samurai situation.

The writers have decided for the sake of an arc that Rick's sensibleness is now paranoia. And there is just nothing you or I can do about that.

I, for one, am NOT pining for deeper conversations. And I never was. I am pining for better dialogue. Those are not the same thing.

A well-written show establishes characters by having each one say the right short thing at the right time in ensemble situations. TWD almost never has more than two characters speaking AT ALL per scene. They don't need to split the characters up again; they need to learn how to have characters communicate without —…

Yeah, and the more times you read it the more improbable it sounds. "In a public place" especially. Plus, why would Slippin' Jimmy do something like that?

I know people who waited through all the Sopranos seasons for a James Garner cameo like that.

Kettleman's house is much bigger, pool too.

Everyone seems fine with that — the problem is we need more guidance as to what we're supposed to believe.

For me it's that plotwise nothing is surprising me yet. I don't know if it's just a hangover from BB, but the rhythm is a little too predictable for me, so far.

I'm coming to this really late because I'm just now catching up with the show but my first thought on reading these reviews has been confusion over Donna appearing to take the electromagnetic sensitivity at face value and no one questioning her about it. It doesn't exist. It seems clear that something else is really…

You forget that it was one of those 24-hour starvation things.

But this is the first time they've left Georgia. And it's inconsistent, even or this show. Did the cars they handwaved that 500 mile journey in run on hope instead of gas? They found out some neighborhood has been destroyed and suddenly they're all on foot and collapsing from dehydration? And I'm sorry but it would…

I started watching The Wire about halfway through Season 3. I called my dad up and said "I'm watching this show that I literally cannot understand one single word of. I have no idea what's going on. But I can't stop watching it." There's never been another show that respected viewers' intelligence as much as The Wire…

If you need a bunch of ham-handed exposition dialogue for something to seem plausible to you, you're sure as hell not going to get The Wire.

Well, there was Terminus. Took them a whole damn half a season just to get there. Or was it a season?

I'll hazard a guess that comic Tyrese does more than shuffle up to people and talk about how weird and guilty he feels?