iZombie's existence makes a Pushing Daisies revival seem redundant, but not unwelcome.

Well then I guess I'm a sucker for self-sucking when it comes to Tarantino films.

I will never understand the grief Death Proof gets. After Basterds and the Kill Bill duology, it's probably my favorite thing Tarantino's made.

Was it really a "surprise" that a Rob Thomas show ended up being good?

I'm partial to Flesh and Bone, but that's usually as far as I get into the album before I switch to something else.

I think the rule of comedic actors being well-equipped for drama roles holds true pretty consistently (see: the entire cast of Fargo). It might just be that I'm used to seeing her play law enforcement, but my reasons for thinking she'd do well in the role aren't much deeper than "I like her."

As much as hearing an artist say "We're going back to our roots on this next one" usually makes my skin crawl, I think they couldn't pick a better time to do just that. It's hard to think of a post-punk band from that era that isn't enjoying a degree of renewed interest these days.

Day & Age feels like the happy medium between the two, and it's all the better for it. Battleborn (Battle Born? Battle Lightning Bolt Born?) was forgettable enough that I don't think I've listened to it completely more than once.

As much as I love Ellen Page, Melissa Fumero is still my ideal Fullerverse Clarice.

Gotta disagree. While Dawn has her grating moments ("Get out, get out, GET OUT"), I think her relationship with Buffy is a great addition. The show itself struggled to realize it at times, but those Summers sisters had some genuinely touching moments.

Anya and Tara from BTVS are pretty much the golden standard for mid-series ensemble additions this side of Toph Beifong in my book.

Not even her turn as Bobby Bottleservice's mother ("ma," in his vernacular) on Kroll Show could prepare me for how much I would fall in love with her as Frankie.

I was hoping someone would bring these two (plus Mai and Ty Lee) up, their arrival on the scene is part of what makes Book Two so dynamic and great.

I think it's fair for people to take everything an author says with a grain of salt (as anyone in an art field can tell you, bullshitting is a very natural part of the critique process). Personally, I do believe the director when he says that he made decisions to evoke a sense of confusion and fear. I, and I assume…

The math analogy was being applied to reactions, not to the work itself. If someone has valid concerns with something the author is doing (that is to say, they handed in the "wrong answer" to this particular viewer), showing them the author's decision making process (their "work") doesn't mean that viewer is now…

It's handwaving when any given criticism can be explained away as authorial intent. Ideally, everything in a movie is a decision made by someone, so to answer criticism with "They meant to do that" is kind of redundant. Whether those decisions are effective or not is up to the audience. Clearly, you believe that the…

That I can agree with, but handwaving a confusing or poorly realized aspect of the movie as "the writer just wants to disorient us" seems unfair to people who have genuine problems with it.

Not sure how this applies to what I said. We weren't talking about the subjectivity of art, we were talking about whether or not knowing the author's intent should change someone's reaction to their work.

Eh, I've always seen it in terms of math. If someone gives the wrong answer, we can look at their work to understand how they got there, but the answer is still wrong.

I think we're supposed to assume he was "initiated" in a similar way. He fulfilled his role of "concept explainer" during that first scene with the Follower(s), so spending all that time looking for him felt redundant.