This was great, but I'd have liked it more if it hadn't felt like a lot of it was retreading Dollhouse, and only a fraction of what that show went for. True, it's a lot slicker than Dollhouse ever was (I love that show, but boy could it be messy, particularly at the start) but this already feels a lot less layered…

Yeah, it's kind of like leaving your wallet on top of your car at the gas station… hmmm…

Ken Bone for President!

I thought Lost in Austen was generally fine, but I was annoyed that they basically tried to pull the same twist as in the novel (ie. Mr Darcy seems like a dick, but actually he's lovely!) despite that being THE EXACT SAME TWIST AS USED IN THE NOVEL. How did the main character fall for that? Otherwise some nice stuff…

John Rubenstein on Angel? That name does ring a bell…

Well, she was fine, really, I just wouldn't rave about her the way others have done (Wonder Woman was a great addition to the movie, Gal Gadot was just okay). Irons and Affleck I think are the only two who turned in genuinely good performances in the entire film.

I get that, it's hard to hear something another way when you've already registered it as something else :P

I'd love to know who Mary Ellen is, but they were actually talking about Barry Allen.

I'm loving the new setup, with Felicity, Thea and Lance being the non-uniform division and Ollie and the newbies being (set up to be) uniformed street cops- er, vigilantes. It's a good dynamic, and gives the acting to the experienced performers and the fighting to the new guys(' stunt doubles). The way the flashbacks…

Her acting I wasn't so on board with, but she was used very well in the final fight sequence - I'd say she was the third best thing in the movie (out of three good things), behind Affleck and Jeremy Irons.

Damnit, Jenkins, stop saying all the right things! At this rate you might actually get me to go see your film, and I really don't want to be the sucker who gave DC a fourth chance to screw up their franchise.

The multiple endings issue is an interesting one… and in TV shows it's pretty exclusively a Netflix (or other streaming service) problem. Or, at least, the brunt of it is; in [American] broadcast television the episodes tend to be broken up pretty evenly, so a big sequence every ten minutes or so (as a mini…

There is already a Clue musical - an audience member randomly picks a murderer, weapon and location at the start and the cast have a slightly different script depending on what the result is, so the audience can genuinely work it out.

Oh, I've enjoyed it all along - I thought the season 3 finale was brilliant and I'd easily sit it among my favourite Marvel movies. It's just the way the storylines have worked that I think was at its best with the first half of season 2 - it had multiple threads but it felt like they were all working towards the same…

Yeah, they really do have very different storytelling techniques. While I'd prefer a little more time spent on some of the storylines (and particularly the emotional fallout inherent in them), I definitely prefer AoS' approach, letting the stories roll over and have consequences but not be so drawn out that it doesn't…

I was a scout and there's no way I'd have been able to do what Fitz did (though I love that he called them out for it anyway).

YoYo is great, and the fiery tension she's bringing out between her and Mack is really enjoyable to watch, and a nice counterpoint to the much sweeter relationships the show usually sticks to. Although I was initially hoping that Mack and YoYo would just have a bit of a bromance (maybe with one or both of them being…

TOO MANY MALFOY JOKES… MUST RESIST…

Arguably every story should be an origin story of some kind, in that it's about a significant change undergone by the protagonist.

You sick son of a bitch. What kind of monster would do that?!