Eh, if this is the original story they wanted to tell, I'm fine with that. It's when a show had a narrative arc for five seasons and gets one or two that I'm sad.

Given that Donald Trump was a public figure in the 80s as well, I was assuming there was an actual 80s sitcom episode making fun of him.

Flamethrowers and explosions and tough, sexy ladies? Yep, sounds like Banshee to me!

I would care so much more about Richie's big epiphany if it didn't come along with a coke and booze bender, unilaterally making major financial decisions that a ton of other people have a stake in, randomly abusing his staff, and of course physically assaulting his friends. (And okay, yeah, he killed someone but that…

Well, the books are filtered through Quentin, who hates him. So it's not completely surprising.

I adored that last scene. All this build up to that switch flip and then….nothing? Or at least, nothing perceptible.

I continue to like individual moments and a lot of the performances (I don't exactly like Quentin, but I like the twitchy, awkward way Jason Ralph is portraying him; Eliot and Penny are pretty consistently great) while not being terribly happy with the overall whole.

A 150-year-old puppy with cancer. Alas, poor Cancer Puppy, we hardly knew ye.

The heavyhanded "chosen one" nonsense is one of my least favorite things about the show so far. I really have no particular beef with departure from the source material as such - if the new spin maintains the core themes of the source and similar or superior standards, hey, riffing on existing narratives is a time…

It's portraying the record industry as disgusting and selfish, and the music as amazing and earth-shattering. These two things are not mutually exclusive. In fact, they're extremely compatible.

I find it less compulsive than season one because I didn't really feel like I had any urgent questions about what happened after the first episode, but it's not a story I was aware of prior to Serial bringing it to me and I'm enjoying her deeper dive on the various aspects surrounding the central story of Bowe's…

Look, that's the Bill Murray I thought of first too.

Well, for one thing, in a lot of these shows the heroes go around committing a lot of sometimes pretty intense violence (sometimes even torture, ala 24). The context of the villainous character's violence is usually more clearly wrong than the protagonists, but once you're willing to accept one character doing that…

The thing is, the book actually moves faster than the show has so far. It's introduced a bunch of time-wasting nonsense that's not in the book, most notably the repeated arguments about whether magic is real and the demons pose a threat by a character that either isn't in the book or isn't on screen at this point in…

It's maybe more part of the plot in later books (and doesn't figure particularly in Elfstones that I recall), but I wouldn't call Allanon straight up expositing on this being the post-apocalypse in two speeches to the Ohmsfords in the early Sword of Shannara "very obscure references". And there's plenty more where…

Allanon straight up says it's a post-apocalyptic setting early in Sword of Shannara and one of the early monsters is a cyborg, so it's not a "big reveal" at all.

Well, also no one has all of Classic Who because some episodes were erased decades ago.

BBC shows are quite regularly listed as on their way out and then get reupped before they actually leave. It's happened many times with Doctor Who in particular. It could be it's really going away this time but I'm optimistic.

That's specifically the folks that settled in Mariner Valley, which is where Alex is from, not all of Mars.

They absolutely did.