Shout out to COP CAR's cold open of two boys trekking through a field dispassionately listing every profanity they can think of, sans preface.

Perhaps it's Talbot, in some kind of contentious government mandated position, a la Henry Peter Gyrich or Val Cooper from Avengers/X-Men comics.

"I'll do my best to power through it" Oh Fitz, you hopeless romantic.

Ah, I mentioned that line in a post just now before seeing yours! I definitely like the line, and intentional or not, his blasé delivery actually kind of makes it better, like that's probably totally normal information to impart at a SHIELD practice session and he's tired of explaining it. And I've been thinking the…

This felt like a top 5 episode of this series to me… which is to say, it had nice visual fluidity between shots, cool action and thoughtful scene staging, no egregious out of character moments or "1st draft" sounding placeholder dialogue, extra attention paid to character even in little visual moments like the shot…

This has to be one of the top 3 or so episodes, not mainly for what happens in it, but for the abundance of character moments given to each member of the huge cast, which all seemed on point for the character in question and were all delivered well.

That too! (I really did have the same thought as I was watching, but couldn't remember what Daisy's aside was about so never brought it up.) I do wish they'd seize more opportunities for whimsy in general though. It seems like there must never anyone on set who feels like that's their job…

Yesssss. I almost threw Excalibur in my list of series for that reason, but didn't because it wasn't technically the whole series, and you know, pedantic nerd alert.

Every time Hunter ended one of those jargon runs with "mate" or something had me hoping we'd eventually get a cutaway with Daisy including that stuff in her script.

*pedantic nerd alert* technically that's pretty far from the truth, as Marvel has focused on alternate universes in small stories to major ones with lasting repercussions, from Days of Future Past to Age of Apocalypse to the current Secret Wars, and even had whole series dedicated to their multiverse, like Alan…

Well, I can't argue against season 2 being great, but I guess I just specifically wanted to reference how season 3 started playing with the format more, with episodes like "The Zeppo" and "The Wish;" in my opinion being a show that could do stuff like that *and* have the emotional depth of episodes like "Innocence"…

(Simmons did mention that Fitz had Fitz'd with her battery to make it last longer.)

That coda sequence with Bobbi training, and then the Simmons cliffhanger, was like 10 times better than the rest of the episode - almost felt like it was from a different director, in the tradition of several Marvel post-credit scenes. I mean, I enjoyed the episode for the most part, but the whole coda had a rhythm…

I derived more joy from tonight's scene. I guess I'm more invested in Skye at this point than I was in Cox's Murdock after ~2 hours, and when I got to that one I was probably thinking "this must be the awesome fight the critics have been buzzing about" but tonight totally caught me off guard. Shooting the duct for…

Drew Z. Greenberg co-wrote it though I believe, and I'm pretty sure he's the only writer on the show from the Buffy staff (unless you count Joss in his capacity as producer/creator or from the pilot, or Jeff Bell's work on Angel, which I guess should count as Angel was very much Buffy's peer in quality and writing…

Yeah, the stilted sincerity/cliche built up just to be quickly undercut: classic move from the Whedon playbook!

I'd have to rewatch but I got the impression that it was actual makeup earlier, but here they went CG because the performance actually required him to be able to see.

Your point stands, but I just wanted to add that my impression of what's going on is that he was really just wearing some motion capture sensors or something, and the "makeup" was almost entirely CG this time, allowing the actor to see. The whole thing looked pretty digital to me.. may as well make it glowy or…

Man… aside from what's *in* the episode (the producers still generally seem to have the right idea about where to take things and this one had a great balance of what works) did anyone else feel like the *execution* here was head and shoulders above anything we've seen in this series so far? The writing can be hit or…

I have to disagree about the editing of Fitz and Simmons' answers - both possibilities are equally viable, just with different effects. Your idea has more comedic punch, with character implications, but the way they did it underscores how Fitz' answer was already on the tip of his tongue, and then gives you a moment…