I agree that both DW and Sherlock have problems (and some similar problems) but It's sloppy for a professional pop culture criticism website like The AV Club to post something so ignorant of who wrote this episode.

I can dislike Moffat's writing often and at length, but reading a review of an episode that Mark Gatiss wrote—when Mark Gatiss is a co-show runner and probably has much creative control over the finished episode—and which never mentions him, but mentions Stephen Moffat about 20 times is jarring. This review didn't…

I think it also has the best Sherlock Holmes character moments, too—the desperate boredom, the shooting at the wall, his increasing delight in solving Moriarty's puzzles—and then having everything he thought about himself kind of unravel when Moriarty actually appears and he's like a funhouse version of Sherlock.

I haven't seen the last two episodes of series 3
yet, but I pretty much agree with all your grades, except I would rate
Baskerville slightly higher (C) and the one with Irene Adler as a C or
C- (I have a ton of issues with that episode). I'm a little worried about the rest of series 3 with no more Moriarty. He…

It was so nice to see Andrew Scott's Moriarty again, even for a brief moment, and in the silliest scenario possible.

Thank you! I couldn't figure out where I knew him from.

That was so weird—it's like did no one on the production staff notice that ALL the main characters are speaking Chinese and yet there are NO characters (or even speaking parts) of Chinese-heritage?

I agree. I also love the moment when he sees his regeneration energy and then turns to Rose and says, "Rose Tyler." Sometimes really good actors can put so much into simple words and the way he says just her name gets me every time. You know exactly how he feels about her with, "Rose Tyler."

That's my favorite episode. In fact, my favorite moment ever might be when Leslie sees the TP'd office and just screams with pure rage, "PIKITIS!"

He could puzzle Daleks by asking them, "Are you a fucking horse?"

I haven't seen the movie since I was a kid—but I remember Millie being pretty racist in its depictions of Asian-Americans. I can't imagine this ever being done on national TV.

Was the 2006 revival the one with Raul Esparza? I loved the recording they did of that for PBS' Great Performances—it's probably my favorite version of Company.

I found it so depressing because of how calculated it was—you could just picture the entire meeting where Miley and her team thought the whole thing out—which outfit would be most shocking, which gestures, which not-quite-maintstream dance/music she could exploit, how she should do some sort of trademark thing like…

I think my favorite is: "And you, Bruce Wayne—why are you dressed up like Batman?"

Maybe she didn't do her own backflips, but she literally put that live bird in her mouth in that one scene (Tim Burton couldn't believe that she was able to do that). I also think her work at portraying Selina pre-assault, Selina post-assualt, and Catwoman—was praised at the time. She's fucking amazing in the role…

They are insanely cute together.

I noticed that! In the flashback where he touches her under the table the dress is red in her memory and blue in his and at first it threw me off—and then I was like, "Nice detail about the fallibility of memory, Kings and wardrobe department."

I also hoped that he would be her mom's date and was disappointed when we didn't get a scene of the two of them drunkenly making out and destroying Alicia's world at the same time.

I think that would be a little creepy—he's basically a father figure for her. He's like a drunk, surly Giles.

Apropos of nothing but the phrase "moody bitches" reminds me of the French and Saunders "Lucky Bitches" sketch about Joan and Jackie Collins. I hope they say "moody bitches" the same way.