@3in1Doctor: In the grim 'n' gritty version of Wild Wild West a half-bodied Loveless uses a colostomy bag, which West bursts to dark comic effect.

As much as a bummer as the cancellation is, I'm glad that if it had to end at that point it did with such a strong episode and beautiful moments in its closing scenes.

@justvisiting: Are you kidding? He's a big fat leftie, and has always been open about. It's just that like Tarantino and Seth McFarlane he gets a thrill out of being non-PC.

Kick-Ass and Chosen are clever if overindulgent in spots. But Nemesis is just one bloodbath topping the one before it after another, stitched together with lazy implausibility, plus a few signature Millar 'transgressively' sick scenarios that are only described. The original anti-Batman, The Wrath, is a much more…

If there were a geek trinity it would be del Toro, Joss, and JJ.

@ZaxxonQ.com: It's very hard to get things like accurate tone, affect, and facetiousness from text alone. Even audio leaves out gesture and facial expressions.

I've taken to Capria much more than I ever did BSG. Maybe because it's cyberpunk in a setting very similar to our world rather than military space opera, even though some of the same themes are explored in both series.

I know, let's stick analog gauges instead of cog wheels on everything. Voila: jetpunk.

Looks Libeskind/Gehry-style gimmicky. Are there translucent sections of walls and floors? What happened to good ol' right angles and bilateral symmetry?

Another one: Hamlet starring Mel Gibson, with the part of his mother played by Glenn Close, who is only nine years older (and whom he distastefully dry humps due to once-fashionable Freudian analysis of Hamlet).

As for fans of the '08 Swedish version unwilling to give Let Me In a chance, I don't recall such antipathy to another "American remake of a recent foreign film" called The Departed.

@DoktorH: Well said. Both Let Me In and Let The Right One In are psychologically resonant, beautiful films.

@Evdor: My purpose in citing the comments threads was not to argue that these remarks swayed people from seeing the movie and therefore the internet was to blame. After all, most online critics liked the film. Rather, it was to illustrate how widespread these sentiments were among people who liked the first movie. …

Congratulations, knee-jerk, subtitle-fetishizing film snobs: you've helped suffocate the box office of one of the best films of recent years.

@Doctor_Memory: Because they are not the same movie. Sure, they're based on the same source material (and neither is totally faithful to the novel), but Let Me In is not a shot-by-shot, line-by-line redo in English of Let The Right One In. There are things to get out of LMI that can't be gotten out of LTROI, and…

Let Me In is terrific. To my surprise it was even better than the Swedish version. Let Me In has more narrative focus and momentum, but it's not dumbed down in any way. Think of the two films as companions rather than competitors; loyalists of the 2008 movie ought to give this a chance.

Could the Fucklist be the next Facebook? She needs to round up investors!

Welcome to the handwaving, castles-in-air world of behavioral biology. Behavioral genetics, evolutionary psychology, even those researchers on the politically progressive side: the ratio of speculative bafflegab and unwarranted neologisms to empirically sound science is immense.

There are three major approaches to superheroes, each of which have associated tones and tropes.

Outside of plain bull, dreams, distorted memories etc, weird objects could be experimental aircraft, either piloted or drones, that were known only to highest level officers and those involved in the project. Dirigibles, balloons, hovercraft, weird helicopters, unusual airplane shape, that kind of thing.