They didn't include his tiny role in Into the Night.

Watching it a second time, I'm realizing: there's nothing wrong with the idea of how they're telling the story, on the conceptual level. The business of the two camps; the betrayals and interactions; the contrasts and the similarities; even the Andrea character, as an abstract idea, work fine.

Okay, I'm totally calling the Season Finale cliffhanger (contains a COMIC BOOK SPOILER):

What's all this MILF shit? She doesn't have any kids.

This whole business of regarding the two groups as essentially equivalent (leader on edge, etc.), whether it's coming from Zack Handlen or from the show's characters, is absolutely nuts to me. The Governor is a devious, manipulative, power-mad, cold-blooded killer. Rick would have to do a lot more than schiz out over…

How come nobody's talking about Celebrity, Woody Allen's bitter, angry black-and-white screed in which Ryder played, basically, the Antichrist version of herself, ruining men's lives left and right? It was just great.

I apologize for misunderstanding your reference to The Man Who Wasn't There. You were very clear; I read it wrong.

All right, you've talked me into it! I'm renting the Blu-ray.

You're right; I'm making some mistakes in my thinking and presentation. I think I'm just overly allergic to homage and to "pulp" (as such, in quotes) since I'm just so sick of the critical drivel that so many artists have inspired over the years simply by working within (and reviving) beloved frameworks.

Sin City might be a continuation or rejuvenation of certain "pulp" narrative techniques, but it's not an "homage" — it's the real thing. The artwork, in particular, is totally unique. It's possible to find precedents for what Miller's doing, but the Sin City comics are pure, original storytelling in the most direct…

Right, but that's my point about Sin City: it takes the pulpy source material and unabashedly, enthusiastically puts it on the screen, without trying to apologize for it, ironically frame it, make fun of it, or turn it into something else.

Presumably neither of us has a goatee.

As a matter of fact, I was, but that's not as strongly-held a position. (In other words, I acknowledge the major flaws in Prometheus and admit that I'm overlooking them because of the degree to which the movie flatters my personal tastes and my admiration and nostalgia for the the original movie.)

This is an awful, awful, awful movie. I thought that then (when I was one of the few people not enamored of Batman or any of its stylistic brethren) and I think it now. Everything about it — the tuneless Sondheim music; the idiotic story; the flat-footed, artless directing; the showoffy, mugging performances; the…

I think you mean "fantastic Eero center," not "aero center," Will. He's referring to the architect, Eero Saarinen.

I think you mean "fantastic Eero center," not "aero center," Will. He's referring to the architect, Eero Saarinen.

Good job, man!

Good job, man!

Yeah, of course that's correct. But she suffices for my example (above; my comment about watching The Mexican, which was more than ten years ago). I'm sure there are other, more recent examples that can be subbed in (say, Rachel McAdams or Emma Stone) or established actresses like Frances McDormand or Tilda Swinton or…

Yeah, of course that's correct. But she suffices for my example (above; my comment about watching The Mexican, which was more than ten years ago). I'm sure there are other, more recent examples that can be subbed in (say, Rachel McAdams or Emma Stone) or established actresses like Frances McDormand or Tilda Swinton or…