Fisk took a few minutes to acclimate to prison, then set about methodically gathering power—just like he always has. It's a nice tip of the cap to a guy who's always had the will to bend his reality to fit his wishes.

Nina goes out as one of the many nameless, faceless little people sacrificed in the Great Game. And yeah, it's anticlimactic, and probably purposefully so. But the series did give her a sense of closure, and let her stand tall in the end.

Fair point. That works too.

Harumph harumph harumph. God forbid any spontaneous unscripted joy break out at a game.

Ah, Chekhov's Virulent Disease finally rears its ugly head.

If you're going to explain away HAL killing the crew, that's about the best possible scenario.

Yeah, JLA and Starman were two that really stood out. Imagine Starman as an FX or Netflix series.

Yeah. Taking the Castle case was pretty much the end of Nelson & Murdock, since Matt was busy taking unreliability to a new level.

Oh, yeah. Her introduction was fantastic. Her earlier characterization—someone with her own reasons for doing things who was, in fact, manipulating Matt for her own ends—was so much more interesting than "Matt's ninja ex-girlfriend/Stick's protege who just wants him back."

Nice to see Matt, the ultimate goody two-shoes, let his freak flag fly. And Yung and Cox have immediate nuclear chemistry, which drives the episode.

Bernthal's playing Frank as an interesting mix: he's got some of the calm, impassive demeanor that Garth Ennis gave the character, but all of his psychic wounds seem fresh, like he hasn't deadened himself inside yet.

You feel like you need to take a shower after listening to Gentlemen.
1965 is pretty much having someone talk dirty to you for about an hour.
And I mean those as compliments of the highest order.

Amen. I can't remember being this excited for a show where every single scene has some form of inescapable underlying tension.

It does if that's the only thing he can concentrate on, to the exclusion of everything else in his life. Which was a big part of Owsley and Fraction's runs on the character.

Luke-as-serious-man/Danny-as-scatterbrained-rich kid really is the best dynamic, and it's great to see Walker keeping that thread.

Too much punctuation. And the proper use of capitalization. It's a very good fake, though.

I remember Priest saying that Michael J. Fox was his inspiration for Ross. Martin Freeman's pretty close.

I'm Gonna Get You Sucka is fairly good, but holy shit, Black Dynamite is next-level.

Not like being overly pretentious or self-important is a new thing in rock n' roll. Besides, "Fire Woman" was better.

No list of these terrible gimmicks is complete without the Ding Dongs.