I guess it's not so much a fully-formed joke as a very specific musical reference coupled with the incredibly cute imagery of the turtles with headphones but its funny that the dissonant turtles can apparently only be soothed by the music of artists who specialise in noisy and atonal music like Sonic Youth or Scriabin.

See this is strange, but this was my least favorite episode so far. I liked the premise of the orphans having to logically outsmart and work their way out of the immediate bind they were in against Olaf, but I wasn't really feeling the tension given that so much time was spent just reprising comedic bits from the…

Carrey has a very live-wire intensity to his performances that he usually channels very well into physical comedy but also dramatic, menacing moments like this. Watching those clips there's an undercurrent of barely restrained menace and aggression that NPH hasn't really expressed so far outside of moments where he's…

Should also point out a nice little shout-out in the name of the theatre they go to: Murnau Theatre, a reference to F.W, Murnau, the director of the original 1922 'Nosferatu'.

I think this is a bit harsh, this was a fine, serviceable episode, with a few nice hints/reveals and some genuinely incredibly funny moments. I knew Monty wasn't going to last long but the short time we did see him onscreen made him feel incredibly charismatic and lived-in, so it was a shame when the inevitable end…

The dissonant tortoise joke is the first time any TV show has actually made me laugh out loud in a long time.

Your final sentence there is the big reason why I couldn't swallow the sudden redemption at the very end. For the whole episode, she was pretty clearly someone who did in fact understand emotion and morality, but didn't particularly care about it. She knew exactly how to prey on Sherlock and others' specific emotional…

The weirdest thing about the DVD is it doesn't even sound like something she would say to them. It's so obviously a crowd-pleasing fanservice-y monologue meant to sound good for the audience as the very end of the series, awkwardly shoehorned in as a final message to John/Sherlock for the added emotional grit. If you…

Awful, awful episode. I said on the last one that you had to accept this series had basically become goofy pulp detective stuff, but this wasn't even good pulp. Everything about Eurus was embarassing: the overly-edgy monologues that sounded more like juvenile ranting than a genius psychopath (yeah yeah we get it,…

Not a book reader here but I can see that if people are settling in for the show in the long haul then Olaf's evil (and by extension the show's darkness in general) is something that will need to be gradually ratcheted up as the series progresses.

I think the sooner people accept this is now an unusually stylish pulpy detective series, the easier it goes down. The "deductions" as usual didn't make much sense, some of the jokes and one-liners are obvious and smarmy, and yeah if you actually closely scrutinise the plot mechanics here, it's all a bit ridiculous.

Haven't read the books, watched (and enjoyed) the movie when it came out. I know the movie was apparently a butchery of the source material but even that made a very strong impression on me and stood out as quite distinctive from the rest of the young adult epics that hit the box office that time like Narnia.

Sure but the problem is that the movie doesn't even really delve into the art in any deep sense. There's nothing that Langdon points out that you couldn't get from a Wikipedia article: Dante loved Beatrice, the final circle of hell is for traitors, Malbolge is the eighth circle of hell, yada yada etc. etc.

This is the most accurate interpretation of the movie in my mind. The opposing argument I can kinda see but the movie itself doesn't really go out of its way to prove Steve wrong. If anything by the end of the movie, he is as correct as ever and right in most of the actions he takes in the film, essentially solving…

Yeah, this is easily the worst of the Marvel netflix shows so far.

Have to say I'm not too impressed with the show at the half-way point. The Cottonmouth/Mariah backstory was electric but everything else feels sluggish.

The episode should have doubled down on fast-talking car-chase pulpiness, and gotten rid of anything sentimental with Scarfe, because let's face it - the show only pulls the "dead son" card because it needed him to be something other than a slimy secondary antagonist, and it's hard to see his death as anything other…

Of course it does! I find that statement a bit strange. Why would I bother to consider what it has to say if it can't make me care about the questions it poses?

I'm a little hesitant to throw in with this just yet. My overriding impression was that this was just a bit too cold and ponderous and that the robots were disposable while the programmers were ironically the least human characters in the series. I suspect the thing with the programmers is probably intentional however…

Great use of the framing device and a lot of unexpected pay-offs from earlier. This was the point in the season where I was probably most confused about where the story was heading but I had complete confidence by now that it was building up to something strong.