Truely is the trifecta of terrific tv.

Unless, for reasons both similar to Martha's (loyalty, love) and totally different (idealism/activism?), she becomes a willing participant - that is, goes into the family business.

I didn't like it because her true grit makes her an even more attractive recruitment candidate, which will be a lot of pressure on someone so young - no matter how mature she is - and may be a career she does not want.

Also, a lesser show would have ended the episode right after the reveal - a cheap cliffhanger to manipulate/tease tension and suspense.

"Look, I don't like what [Gaad] did, but he's my boss, and I'd have to avenge him, anybody did him wrong."

Ok, Morbidly Curious Me™ has to ask: since we are all animals, do human remains smell like other animal remains? I've only come across the latter.

I admire your ability to use humor about the situation - it certainly can take a bit of the sting out. I wish I could be like that, but even after 30 years of shit-siblingry I still pitifully want that bastard's approval.

Doubly effective for me because I watched Bates Motel beforehand and the sinister ever-present score was distracting.

Wow, ouch that cuts deep and true - guess I need to start truly forgiving my own private Chuck.

Sorry, a bit off-topic, but it's funny how it's true of Tuco but absolutely false when it comes to The Cousins, Tio Salamanca, and of course Gus Fring - because all four* are cold-blooded and calculating. That background reference (since it's the same story universe) made the racism even more ridiculous.

Feel ya - brother stuff for me, except mine wouldn't deign to tell that to my face, I hear it second-hand from his friends or passive-aggro crap on Facebook.

These are fundamentally broken people - which is not an excuse - but Dylan is as much beholden to his needs as any of the other deeply flawed characters so he is not acting from a rational space but rather reacting from an emotional one; these are not choices healthy folk make, which is why I can have empathy for them…

I think it will be an enormous relief for Norman when he kills Norma and only has the psycho/psyche version to deal with, which 1) he can control a bit better; 2) who will tell him what he wants to hear; and 3) who can never shut him out because she is inside him always.

Creepy that when Norma hugged Dylan, I got the image of her embracing a young Caleb; despite the problems in the story with that character it was an inspired choice to cast Kenny Johnson [Lem!] because the two actors seem like they could be related.

I really had to push myself to continue to watch "The Americans" because Elizabeth was such an unlikeable character; I don't mind hard, cold, ruthless, humorless women (loved Mags Bennet in "Justified") but I just couldn't stand her - until I re-watched the first 2 seasons and I understood the reason for that…

She used "colour" in another post so her spelling of "civilisation" indicates she uses Commonwealth English.

Yet still, those sounds, and him gasping for breath like a landed fish, and the terror/desperation in his eyes - I can't use the word "glad" without sounding like a psychopath, but I was impressed the show continues to de-aestheticize killing another human being [and this is coming from a (tv) Hannibal fan].

Also, there was something he specifically said (don't remember, sorry) that gives credence to this interpretation, which I agree might likely be true and Norma doesn't necessarily have to be conscious of her memory-revision.

Norma has Borderline Personality Disorder if she's got anything definable. What I like about this show and Farmiga's performance is how humanized and complex and sympathetic the character is despite her deep neurosis.

The show uses both space and time to allow feelings to expand out into them. I'm putting it inelegantly, but what I'm trying to say is that often in other good shows there are quick cuts and workmanlike framing that truncate the emotional impact that BCS prolongs.