Agreed with, endorsed, and cosigned.

Never saw TCW, but I really love this show and think it's been getting better each episode. This was one of my favorites so far — and it's a testament to the characters and what they're up to that they can jump right in to "Ezra has infiltrated the Academy" and there's no catching up to do.

That's the problem I've had with the show from the beginning: it doesn't seem to have any interest whatsoever in who these characters are besides who they will eventually become.

Sure enough, because the phrase "brought back to life" wasn't directly quoted in that little logline up there, I thought there was some sort of metaphorical rebirth going on — saved for jail or something. Nope! It's actually bringing someone back to life.

Olivia Colman looked like she could conceivably be a woman with a few kids who was a detective in a sleepy English town. Anna Gunn looks like a Hollywood actress (alarmingly thin, obviously plasticine features) pretending to be that. Gunn's Miller also has none of Colman's warmth or vulnerability; she's essentially…

That's really interesting. You can extend that mirror analogy even further, and extend it to all the interns — Merrin's people were as traitorous as Annalise's are loyal.

This seems more of a review of ABC's terrible marketing department than the episode itself. That was a lot of buildup to essentially reconfirm something we've known since the pilot, but it's not right to ding the show for it (likewise, I hate when sentences like "t seems like the episode was written with the intention…

Television Viewing in the year of our (non-participatory) Lord 2014: a show that is only 6 episodes into its 1st 13-episode season has "A lot of building"

I always appreciated the quiet moments he brought to even the biggest, goofiest roles. Telling his children that they were his happy thought in Hook, his courtroom speech in Doubtfire. They would be maudlin with most other performers but he always made them work. And that contrasted with the scene where he's telling…

Watch the two episodes of Partners that aired tonight, and you'll be begging for talent the likes of Lorre and Boll.

Going through old reviews of movies I've just watched, then reading comments like these, makes me sad.

Friday I did the first 3 episodes of the new Killing season. I jumped in in season 3, and I like it, aside from the same dumb things that sink a lot of mystery stuff (being way ahead of the story, and people's behavior being inconsistent based on how dumb or smart the moment dictates). Probably won't finish till next…

This is a fun little time capsule comment.

Replying 6 months after your comment to say that I was absolutely sure that Crispin would be the one to get the axe trap, and that would've been way more nihilistic than the ending we got.

Bar-ton Fink! Bar-ton Fink!

I remember reading his review of Spartan and skipping class to go catch the first showing. And I've probably watched Casablanca and Citizen Kane with his commentary on more than I have with them off.

Bummer. I thought Shane Black was working on this with an eye to direct. Guess they've moved on.

Yeah, that is odd, but I think the larger point — that Mike Yanagita is a total narrative non-sequitur that nobody but the Coens, working under the false true-story hook, could get away with — is well-made, though. For someone whose writing has been as ambitious and ambiguous as his, I just refuse to believe that he…

I kind of wish they would go back to doing their shows closer to Network TV length than using the full hours/half-hours. I think a lot of their shows have actually suffered by having to be 5 to 10 minutes longer than the average episode of The Sopranos.

In one of his books (maybe Bambi v. Godzilla), Mamet refers to Eisenstein as preemptively referencing The Untouchables.