It fucking kills me that the best thing he's getting right now is a truncated arc on The Flash — his appearances seem to be entirely limited to how often they can afford a CGI gorilla, which isn't often.

The subtitles were a joke about how a lot of Americans struggle with British accents (largely because they haven't got a clue what most Brits sound like — unless they're an eighteenth century dowager or a cockney gangster / sex-worker.).

Between this show and The Leftovers, it's like someone's distilled my two favourite things about Carnivale and made them into two new shows. They're also the two best shows on right now, I reckon.

If that's some kind of explanation, and not just an excuse, then go do something about that. But if that's indeed sarcasm, as I suspect it is, then I apologise for giving you the benefit of the doubt.

Wow. I also think that people who aren't Hollywood attractive should be ashamed to go out in public.

Too many compliments?

Or that the same sperm would hit the same ovum in the same way.

But on the other hand, the show didn't make light of the situation, and showed that it really was a terrible thing.

I guess there's no effective way to implement a trigger warning on a TV show.

And, like, why wouldn't you want to watch something that's good, even if it's only the one episode or two?

Also, just throwing it out there, but it's no great boon for superhero diversity to give a character of colour a single, animated, online episode to herself.

Okay, I've only watched the final installment, but Stephen Amnell and Grant Gustin are giving some incredibly wooden performances. Gustin in particular.

With stilts, so he can reach the controls.

Yeah, Season 6 was such an overall misfire thanks largely to disappearing co-stars and dropped plot threads, that the show ultimately failed to make much traction.

Look, it's going to drive me mental, but there totally was another recent show that jumped around in time like this, yeah? Having one episode play out the same sort of material from a different perspective — unfurling from a cliffhanger ending with very deliberate pacing. It's not the Affair, and I know both Heroes…

Aaand, he's not in the next two episodes. I smell a dropped plot, and a one-way ticket to Mandyville.

You're making no sense. Stephen Hawking accredits the bootstrap paradox as a legitimate concept, so it's not like Whithouse is pulling this idea out of thin air. But it's also a scientific concept that's permeated into the cultural Zeitgeist, (though with more success that Schroedinger's Cat).

There's no reason for twelve episodes to be any better or worse than any other twelve episodes — whether there's six stories, eight, or twelve.

Do you also not like serialized television?

you realize it isn't actually a capital-P Paradox at all, it's just a name for a writer's mistake.