I think that was the second time in the season she did it, with the first showing the exchange in a little more detail (namely, her son being embarrassed by it).

To be fair, I don't think he did. So it IS open to interpretation.

Yes, it is, but it's a nebulous concept that exists for the purpose of preventing easy fixes. And those kinds of things are absolutely necessary when your main character has a spaceship that's also a time machine and a magic stick that can make any piece of technology do literally anything.

For sure, and on occasion that pays off beautifully. But I can't help but feel that - especially in BIG episodes - Moffat solves too many problems with time travel. It gets old, and also confusing. Like, he solved the Time War. With time travel. Even though the Time War was time locked explicitly to prevent solving it…

It's not just girls who wait. Moffat really, really, loves to subject his characters to doing things for long periods of time.

Pretty huge.

I think it is the revenge/justice thing, even if that's unsatisfying to you.

To play a little bit of devil's advocate agains my own stance, Wright was working on Ant Man before even Iron Man, so when he first signed on, he genuinely didn't have a frame of reference for what Marvel Studios' M.O. would be like.

I'm making a point about auteurism more than anything. Filmmaking is an overwhelmingly collaborative process, but the director is the only person on a film set who's been conditioned to believe that he 'deserves' to have everything done his way, or who will quit the film if he doesn't get it.

I've gotta start by saying that I think Edgar Wright is off the fucking chain, but setting aside all biases, this does illustrate the interesting power dynamic that's still all over Hollywood.

70mm is definitely something, but it's more than a little insufferable to make it your main selling point.

I made a point of ensuring that my first viewing of The Hateful Eight occurred on a 15-inch tube television.

You're right, of course. Because all you have to do is look at the news and see how people who spout obvious bullshit in this day and age are unilaterally called out on it and dealt with accordingly, so as not to leave them in positions of influence.

Fargo is a thriller - of any kind, let alone one with attitude - to about the same degree that Twin Peaks is a murder mystery.

I don't hate Iggy Azalea, but I don't know that I'd call her awesome.

Or just go all the way with it and use a bolt gun.

I'd argue that "Bad guys are caught, good policework wins" doesn't apply to Season 1's ending in the first place. Rather, it's just another case of "Everybody dies, nobody learns anything."

"Meemo escape sure death twice, only to not be heard from again after he is taken out on the stretcher?"

For one thing, I'm pretty sure the man they hauled in was confused for Varga's henchman Yuri.

I like how, as others have pointed out, Varga's speeches became increasingly transparent over the course of the season. It got to the point where tonight, when Emmit had the gun pointed at him, the direction of the scene was actively discouraging you from listening to what he was saying. You could tell, 100%, that he…