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For me, Mad Men is much, much more re-watchable than any of the other shows in the last decade, Breaking Bad included. I’ve blown through the whole series at least four times, and regularly tune in to specific episodes whenever I’m bored. A lot of this has to do with the fact that it is much more nuanced than its

Any character (other than Negan, I suppose) who was not around during the first 4 seasons of this show is just so completely bland and forgettable that I don’t understand why they even bothered including them. You have your typical hapless friendlies, your typical lesbians (locked in domestic turmoil—because of

Same here. I think, like, on sci-fi level it pulled the coolest, simplest reveal out of it: the idea that in that other world they went through all the same shit, but with other part of the people. I thought it was breathtakingly elegant. And I think it needed that.

I want to congratulate Succession for creating the most expensive bottle episode in television history.

Oh, and shout-out to the shot of the normally flawlessly competent and unflappable Karolina spitting “FUCK FUCK FUCK!” into her cell. Delicious.

He’s incompetent and neurotic, but I’d argue he’s not so much a creep. He certainly presented himself that way first season but I believe that he was trying to fit in to this weird, ruthless family and he thinking that’s how the super rich are supposed to act. The writing of the character, I believe, has to do many

I know Jeremy Strong deserves every golden statue on the planet atm but major snaps to Kieran Culkin as well; I was near tears when Roman and Kendall had that silent exchange at the table.

First of all that was an obscenely big yacht, how big was it ? It so big its more or less the first naval vessel in a show or movie that wasnt dimensioned like a tardis, I have seen.

I do kind of wish it had been a little more substantial, like it could have dealt a lot more with Jesse’s guilt and how he felt about everything that had happened to him.

some nice realistic gunplay also with a believably high miss rate

Jeremy Bearimy

The timing for Frank's inevitable clam barf was perfect too. Reminiscent of "There's Something About Mary"'s franks-and-beans gag where they tease the disgusting money shot, pass the signpost of where it would logically be shown, then as soon as your defenses are lowered, spring the surprise.

That shot of Tom, Shiv and the gang watching Bill go was so fucking striking I had to rewind and bask in it. I know Shiv gets complimented on this site a lot, but Tom’s a good-lucking motherfucker too!

I know this season was written and shot months ago. But tonight, more than any other episode, had me gobsmacked at the mirroring of current events. A family dynasty of a soulless patriarch and the siblings who stop at nothing for their means to survive at whatever the cost is so incredibly  Trumpian, it’s remarkable.

The auto-motion line at the end had me laughing all the way through the credits and commercials. Suddenly, every other stupid thing the gang had said during the episode became lead-up to this punchline. In retrospect, the entire episode was answering the question “What kind of idiot actually likes auto-motion?”

My love for Bojack Horseman is vast and infinite, but really now, how much longer can the show go for?

Barry and Fleabag (and all the actors involved with them) should win everything. It’s too bad that they’re in competition for some categories, because they both really deserve to win.

Phoebe Waller-Bridge for all three Emmy’s she nominated for in Fleabag. I don’t know how she crammed so much cringing, laugh-out-loud, romantic and heartaching moments into six short episodes but she deserves all the awards.

Alfie Allen, who gave so many understated and anguished performances.

I was super terrified when he actually turned the helicopter on.