Yeah, I feel like the logic of the original blockade runner we see in the opening moments of the first film makes sense. Presumably, it was escaping a planetary blockade from the planet's surface, which is a smaller area to police. But even though it was able to make it to outer space through the blockade, there was…

He wasn't forced to stay down there, but the whole leaving brother in the dark to live-out his weird addiction thing icks me out a bit.

"Projecting" is a needlessly inflammatory and dismissive accusation.

Neddy isn't literally locked away, in the sense there is no lock on the door, but he is still shut away. A brick tower is built around him, shutting him out from the world and even from sunlight (which he didn't seem to mind as a baby). Sure he can break out, and maybe PB always knew he could, but it seems a little…

"Misreading"? Hardly. There's something more than a little off about keeping your sibling locked away in a tower, even without the whole Morlocks implication.

I can't support that reading, if only because King Huge is clearly aristocratic/pre-capitalist. After all, he can hardly be an industrial fat cat when he doesn't have the ability to fix or replace the clock. Likewise, the experience of not having any upward mobility is not uniquely capitalist: the 'salesbear' thing…

People who are too young to remember not having cell phones don't realise how easy it used to be to get stuck in space.

It still is totally irrelevant, though. Just as it would be a derail to bring up a discussion of the latest Flash episode in an Arrow thread. And when the first comments on the thread are 'let's talk about a different show' it gets a bit much.

That's Clark's problem.

It might be a stretch, it was just an interpretation that was being tossed around. I guess we'll soon find out.

There was also a related thread discussing how Sherlock may have meant that by graduating Kitty he wants to send her back to London.

Perhaps to feed a fallout between Kitty and Sherlock? If she's chosen to stay while Sherlock assumes she's still keen to depart (once she's honed her skills) then it puts them on collision course for drama even though neither of them have intentionally injured one another.

Hah, I wish it worked that way.

If you're interested in the history of the trope – and I assume you would be, considering you're on this site in the first place – you can read more about it at TvTropes: http://tvtropes.org/pmwiki/…

It's not the performance that Oliver is critiquing, and it's irrelevant whether the character turns out to be gay or not. Oliver's observation is that the show is trading in cheap, outdated gay stereotypes for a character that the show is hinting could be gay. They might give him a girlfriend in the next episode, and…

…what?