The first time I heard someone use the word "grunge" it was my dad and he was talking about the Spin Doctors, so there.

Adam botched Jim J. Bullock's queasy expression (the one that seems to say "I can't believe how offensive this show is to gays"), the timing was completely off. Jon Hamm's ghost was easily the highlight of this thing.

It's the return of the softcore sci-fi side of the band, which isn't really my cup of tea. The melodies are nice but they might be more resonant with some guitars maybe? These clean synth textures just go in one ear and out the other.

The zombie being pushed up against the chain link fence and getting his face squished like Play-Do was totally a Breaking Bad reference to that speed freak from Jesse's house who gave a paranoid rant about the plausibility of such a thing.

How dare you mention the underrated, inspired experiment Acceptable.tv next to the cornpone sub Jay Leno excrement that is Frank TV. Any show that spawns sketches like Homeless James Bond and Operation Kitten Calender is a success (creatively anyway) in my book.

Ghost Harry: "That tree is way too big for you to cut down yourself. You need to get the rest of the crew to help bring it down."

I think there's a difference between an emotionally satisfying conclusion and an artistically satisfying one. I'd give this one an A for providing closure with Walt tying up loose ends, coming clean about his true motives and icing the bad guys, but a B+ in the artistic dept. for not unsettling us and screwing with…

I mention those scenes not because they are violent but because they are stylish, original, and shocking. Maybe it's impossible to top those high water marks, but nothing in this episode came even close to blowing my mind like that.

This was a satisfying finale that hit all the right story points, although I can't help but feel it was missing that extra "iconic" quality that a lot of the series' best episodes have. There was no "head on a tortoise" or "Gus' face getting blown off" moment, no Emmy-justifying "half measures" speech, and while the…

Yeah, but they used to do it through the prism of warped South Park humor. Nowadays, it's just "Hey let's have Cartman talk about the debt ceiling" without the irreverent wit.

Well, South Park has officially become Doonesbury (or I think that's what it's trying to be).

It's Asperger's and people with it "get" Stephen Colbert just fine. Todd is more of an antisocial personality type and also kind of a cretin.

I never understood the criticism of the Jimmy Smits season. I like the idea of Dexter wanting to let someone in on his secret, only to be shown when things go wrong and his buddy has different ideas about who deserves to die exactly why the code forbids this.

Chekhov's natural plant-derived sugar alternative

"It’s also surprising that Miami Metro never realized Dexter’s secret. Everybody expected them to figure things out in the final season.
BUCK: We toyed with that idea, but it felt off-point. The story was ultimately about Dexter’s personal journey. "
Reading this line is my personal "watching my mother get cut up with a…

Hey, the first 48 hours were good! I didn't feel like my time was wasted. I think the series breaks down like this:

This season of Dexter has more resembled the Outer Limits episode where Neil Patrick Harris plays a mentally challenged man who is immune to the effects of brain eating slugs who crash land in a small town on a meteorite and is the only one who can save everyone by blowing up the slug lair with dynamite. Now that was…

rap metal and Nickelback (because teens and people with low IQs having sex is gross anyway)

This would be the only way the Marie klepto storyline from season 1 (briefly reprised in season 4) could figure into the main plot and not be a complete waste of time. Interesting.

The character should be played by comedy writer Vernon Chatman (Xavier Renegade Angel) and he should have a horrible deformity like a tumor on his face that no one ever remarks about despite its obviously disfiguring nature.