I think Hank's behavior post-injury will shed some light on that alien stuff in his house. I hope it isn't like a tragic brain trauma thing, though. No reason to make Ted Danson characters suffer.

Mike's "Circle" soliloquy was pretty nihilistic. Though you could also see some elements of reincarnation, so maybe nihilist isn't the correct nomenclature.

-You could see the pain on Constance's face when she got away with blatantly asking Peggy's location several times. She gets to regret manipulating such a vulnerable person right before Hanzee probably (definitely) kills her.

-Honestly, Deanna's grand plans for Alexandria look a little rudimentary. They're essentially a list of designated buildings Deanna thinks would be neat.

-Don't worry, we'll handle the crone. We're old cops.

-Jessica totally understands Hope's disgust at the notion of Kilgrave's child, but there's an undercurrent of intolerance for superpowered humans in general. In conversation, Jessica gives Hope the opportunity to pull back a little, but Hope doubles down. It's an understandable response, but it shows how Jessica's…

That's gotta be a 70's era choice. Quadrophonic sound and all that.

Seems like everybody but Charlie gets to cold cock this Kitchen Brother.

-I'm not quite sure how Bear Gerhardt will avoid legal consequences for, uh, attempting to burglarize a police station. Show doesn't seem terribly concerned about it.

-Sasha seemed more alarmed at the cartoonishness of Abraham's overtures than outwardly pleased or repulsed.

By that logic, the anchors at FOX would be a bit more attractive.

I don't think you can go Full Draper on a woman if she's not generally put together and independent. There's no element of infecting a functioning person with your emotional dysfunction. Preying on damaged women is a season two Pete move.

Dumb and Dumber 3: Okay Then

-The Kitchen Brothers mowing down Gerhardt hitmen with shotguns had great editing. When that one guy got away, there was a very tactile sense of the shotguns' limited range, making the audience aware of the abundant cover for an assailant in the background. Once we're looking far in front of the Kitchen Brothers,…

-The Kitchen Brothers mowing down Gerhardt hitmen with shotguns had great editing. When that one guy got away, there was a very tactile sense of the shotguns' limited range, making the audience aware of the abundant cover for an assailant in the background. Once we're looking far in front of the Kitchen Brothers,…

-The Kitchen Brothers mowing down Gerhardt hitmen with shotguns had great editing. When that one guy got away, there was a very tactile sense of the shotguns' limited range, making the audience aware of the abundant cover for an assailant in the background. Once we're looking far in front of the Kitchen Brothers,…

-The Kitchen Brothers mowing down Gerhardt hitmen with shotguns had great editing. When that one guy got away, there was a very tactile sense of the shotguns' limited range, making the audience aware of the abundant cover for an assailant in the background. Once we're looking far in front of the Kitchen Brothers,…

-I agree that the slight mistiming on the 'Hanzi picking up glass' splitscreen was an aesthetic choice. The 'Hanzi in Waffle Hut' scene gives the audience little time to process Hanzi's thoughts; we actually saw what happened with the cash register, the blood, etc, yet the camerawork implies Hanzi barely has to glance…

I don't love Lucy because I had a Lucy-like girl in my elementary school class. I really didn't have any way to deal with aggression, except sarcasm, and my sarcasm didn't work on her. I didn't like that.

Listen, I love Marcie. I can't argue against Marcie. But Marcie doesn't know shit about Kierkegaard. Linus does.