I think the show was morally ambiguous early-on because the point was that Walter was treading in morally ambiguous territory. The show's tone has evolved with the character. Walter is no longer morally ambiguous, and as such, the intensity is ratcheted up while the subtlety is taken down. Hell, the title of the show…

I think the all-too-familiar "mastermind" element is what makes The Bridge, to me, feel like an episode of a run-of-the-mill network procedural from time to time. The "boy in trouble," who will undoubtedly be saved in the nick of time, the criminal who is too-cool-for-the-room calm and snide, the pointed phone…

Agreed. Listing the "crime resume" over the phone rang a little hollow for me, but that taste was quickly erased by the build of the last 10 minutes.

Notice it? It was telegraphed, big time. To be honest, it was the only thing that rang "untrue" to me, since Walt rattled his crimes off like he was reading his resume. It actually bothered me, but then the last 10 minutes ripped out my emotional core and now I don't give a shit about the phone call.

Nope, it's totally right for the show. I've thought that way forever, despite my dislike of the character. I think it's reasonable that Walt will survive and find himself with NOTHING — no money, no family, no friends, etc. — and that will beg the ultimate question: What was the point? That ending would be emotionally…

This show has me so mindfucked, I was pretty confident that Gomez was going to shoot Hank in the back after cuffing Walt to reveal that he'd been in cahoots with him all along.

"Sit down. Have a cream soda. Do some-fuckin'-thing."

Interesting that Tom Waits pops up on the list, as I've always thought "Ol' 55" would be a great funeral choice. Haunting BUT uplifting, tonally appropriate, and how can you beat, "Stars beginning to fade / As I lead the parade" as a lyric to go out on?

An interesting visual I noticed via a second viewing of the ep: When Don is in the elevator, attempting to chase after Sally, he places one hand against the elevator wall, and the other over his face, mortified and panicked. Later, when Don is speaking to Sally through the bedroom door, Sally mirrors the pose, one…

Interesting, but wouldn't this render all of the events of the season moot (in that, none of it actually happened)? That would be one hell of a dangerous game to play with your very devoted audience: "Those 13 weeks you just spent with us? Never happened! See you next season!"

I've been fascinated by the Sharon Tate parallel since it was first suggested, but the "already dead" theory is juuust a bit too much. Not to mention the fact that Rowles is using Megan's "But I live here" line as evidence of her place in the afterlife, whereas it seemed to me to be an echo of Megan's comment to Don…

"The punch that ended the strike" angle was one of the weakest attempts at storytelling that the show has produced (to this point, at least. I'm late to the party). Childish in its manipulativeness and way too "evil genius" in terms of the staging. As soon as Underwood admitted to masterminding the brick throwing…

I wonder if there was some kind of network note — or something — regarding Charlie's constant weepiness. Three straight episodes, and barely a quiver! (Yes, I'm keeping tabs.) Hell, even when she has to leave her father in the dream sequence, her eyes barely well-up. I rate this as a big improvement for the show.

I wonder if there was some kind of network note — or something — regarding Charlie's constant weepiness. Three straight episodes, and barely a quiver! (Yes, I'm keeping tabs.) Hell, even when she has to leave her father in the dream sequence, her eyes barely well-up. I rate this as a big improvement for the show.

The story from the woman who watched her brother succumb to "dirt pneumonia" — and still blames herself for his death — is one of the most heart-wrenching stories in a Burns' documentary since the Sullivan Balloo letter in the Civil War doc.

The story from the woman who watched her brother succumb to "dirt pneumonia" — and still blames herself for his death — is one of the most heart-wrenching stories in a Burns' documentary since the Sullivan Balloo letter in the Civil War doc.

That's pretty dang cool. In retrospect, it should be noted that she gets absolutely squashed by "the boys," who don't seem particularly inclined to let her speak. But, still…assert yourself, girl!

That's pretty dang cool. In retrospect, it should be noted that she gets absolutely squashed by "the boys," who don't seem particularly inclined to let her speak. But, still…assert yourself, girl!

Agreed that the Idle, Izzard, Connolly Nerdist ep (and I leave out Winkleman intentionally…she contributes absolutely nothing) is a clusterfuck of voices that seems unaware of the recording device in the room; however, there is some very cool analysis of stand-up as an art form. The "stand-up DNA" discussion initiated…

Agreed that the Idle, Izzard, Connolly Nerdist ep (and I leave out Winkleman intentionally…she contributes absolutely nothing) is a clusterfuck of voices that seems unaware of the recording device in the room; however, there is some very cool analysis of stand-up as an art form. The "stand-up DNA" discussion initiated…