1. YES. MORE BRONN.

I hate to admit something like this, but I thought, while Dave Foley is awesome, he seemed like a "special guest-star" rather than the best actor for the part. That's generally not something that works well (kind of like Mike Tyson guest-starring on SVU), and he didn't pull it off. I know this isn't supposed to be…

Wow, this went off on a weird tangent.

1. MORE BRONN, PLEASE.

I know that it hasn't yet been picked up, but it also hasn't been canceled.

I've admired some of the work Loeb has done, but nothing has blown my skirt up. I still think THE LONG HALLOWEEN's best part is Sale's artwork and think that the book itself is very overrated. HUSH suffers from the same problem. But don't get me started on ULTIMATES 3 and ULTIMATUM. We'll be here all night.

But it could just as easily have been Chris Yost, who did such a fucking brilliant job on running AVENGERS: EMH and WOLVERINE AND THE X-MEN cartoons on Disney XD, but now that's becoming AVENGERS ASSEMBLE… under Loeb.

The thing that makes me uber-happy about SHIELD (I'm kind of refusing to call it AGENTS OF SHIELD right now) is that obviously under the auspices of the Whedons, Mo Tancharoen and Jeffrey Bell, it might be a riskier show than people are guessing it might be…

Thank you, Molly, for pointing out that it's awesome to see a somewhat restrained and not quite so dazzlingly theatrical Hannibal in Mads in comparison to the operatic and oppressive scenery-chewing of Hopkins. I still for the life of me can't figure out why his portrayal of Lecter gets the kudos it's gotten. Even…

Reese: "What's this for?"
Shaw: "So you won't feel so inadequate while I'm driving this car."

The Merlyn Global infiltration, the Diggle-Hood scene, the Walter Fucks Moira Up scene and the final confrontation worked really well, and more's the pity, because this show's forced romances (which seems to be the only other thing they're invested in right now) absolutely suck ass. The whole Roy/Thea is just…

PAC RIM (That's what the cool kids are calling it) looks super-mega-awesome-o…

Wow. Just… wow. How would this have served the film in any way at all?

I think I've resided myself to mentally hate-fucking this show like an evil ex. It's beyond stupid, has no real character construction, no thoughtful plotting, and sadly, some extremely poor performances from some really terrific actors.

I so wanted Sue to be a terror in that committee meeting, but I'm so glad that they showed that she's not unflappable either. Well, that's the way the cookie crumbles.

Don't get me wrong; I love POI. I think it's one of the best network shows, and it does get into some pretty risky stuff. But when it comes to character motivation, I just felt it would have been stronger from a storytelling and character standpoint to have Fusco be not the standard…

I so hoped that Fusco's tale was one of irredeemability. After doing all of Reese's shit work out of fear, he joined up with Reese and Finch and was eventually happy to be working on the side of angels for once in his life. That was how I wanted to see Fusco, and if this show happened to be on another channel, such as…

The moment when Jack realizes Bella is dying… 1000% devastating. Perfect moment for Fishburne. It harkened back, for me, to MANHUNTER when Will realizes that Dollarhyde has seen the films. Although that works for completely different reasons, they're both great moments of quiet discovery.

This whole episode befuddled me on pretty much every level. I know that shows on the CW aren't known for their subtlety, but sometimes more is less.
We don't have to see the murder of the kid's parents. Sometimes just firing a gun and hearing a body drop is good enough, and usually makes more impact. As Hitchcock…

I think it took me until about three years ago, which is probably 20 years after first seeing it. I just thought it was some doggy, and then it dawned on me when Ned asks, "Are you all right?" to her perhaps not-pleasurable-but-turns-out-to-be-incredibly-pleasurable gasps that, yep, they're engaging in some good old…