I think we'd all prefer to pretend the bulk of that Mulder storyline never happened.

The monster was underbaked and didn't really mesh with the big emotional stuff in this episode (though I really liked the music over the scene where he kills the bitchy lady), but the emotional stuff really worked for me. Partly because Gillian Anderson is great, and partly because we got some of the old "Mulder and…

Honestly, he didn't do much for me on The Good Wife either. He's an extremely handsome man but he comes across as very bland on both shows.

Bertie is, as Edith would say, just marvellous, and I'm thrilled it looks like she's getting a happy ending.

They basically begged him not to leave for America with Sybbie, I think it was a fair assumption they'd be happy to have him back living as he was before he left.

Somehow I doubt the answer to the whole conspiracy is going to be the thing Mulder monologues at us in the first 30 minutes of the first episode.

Propriety, yes. Kindness, no. If Barrow had been told off for lacking Carson's discretion or decorum, that would have made a lot more sense.

Is ANYONE going to remember that Mary's beloved husband died driving his fancy fast car and maybe that would give her some pause about this new dude who speeds around in cars for a living? Anyone?

Exactly. Even that little scene he has at the beginning with Laura Linney where he sits her down and tells her that her crush is obvious and she should do something about it establishes from the start that he's someone you really like. He's giving her a needed reality check but also some good advice and it's clearly…

I really enjoyed this episode. The wedding stuff was all handled well (particularly the bit with Cora — a nice reminder that however nice the family is to their servants, they're still very much servants at the whim of their employers), and Branson popping up when he did was a fun surprise as I didn't expect him back…

The show's ratings aren't great, but it has a lucrative syndication deal. CBS uses Friday and Sunday nights as a farm for its syndicated-but-low-rated shows (Friday because it always has lower viewer numbers, and Sundays because football overruns always mess with live viewership). I'd say it's probably safe for…

Tell that to Hugh Laurie,

The thing I find really interesting about Noah is that (as far as we know, and I think it's true) he stayed in a monogamous and happy-ish marriage for 20 years before going off the deep end, but once he started the bad behavior he's just gotten worse and worse. So why the change?

I really liked this episode, both on an episodic level (this was one of the better stand-alone mysteries I remember the show doing, as others have commented) and especially for the larger arc.

I had the exact same thought and was first proud of myself for figuring it out and then happy with the show for adding one last twist.

I'm not fussed about them not showing certain Watson/Sherlock conversations right away. Among other things, I think it's clear that Sherlock is not as okay as he's immediately trying to be, and the serious and honest conversations about his relapse are still in their future when he is pushed (likely by his father's…

I would love to watch that. This season was so busy showing drama between Jason and Effie (and everyone else who had to work with him) that we spent relatively little time on the actual moviemaking process. I want to see actors being given actual direction, and figuring out how to position cameras and get the sound…

I remember his speed dating short being fine for what it was, but I can't imagine watching an hour and a half of something with that pace and tone. Which was the other (non-script) problem with The Leisure Class — even when things were supposed to be wacky or dark or emotional, it all felt flat and same-y.

Critics exist to give their honest views on the work. This isn't a high school creative writing class where Scott is required to give compliment sandwiches to encourage the kiddos to keep writing; this is a grown man who was given $3.5 million to produce a film that now has to stand or fall on its own merit.

The problem here wasn't the location or production design or the DP, it was the underlying vision and story.