Couldn't agree more.

Oh, for Pete's sake. All of this discussion about the realistic depiction of a molly high in a work of *fiction* is kind of petty. Especially when the prost standing next to Ani says something like a molly only great.

It's such a laughably literal interpretation. Obviously, Paul meant the contracts contained THE names.

*Don't forget the set up Vinci massacre, so obviously flagged by Burris' snarky, "Be careful out there," or whatever it was he said, and the order to rush the building before getting everyone in position
*Blake's end times in Frank's office results in a last minute, desperate bid for a "triple-cross" at a big money…

Yes, they did. Big time.

This is starting to feel like deja vu of the second season of The Wire. I watched The Wire from S1E1 as it was first telecast, and a lot of the negativity surrounding this second season of TD reminds me of the online reaction to the season on the docks. Around that time, David Simon started giving interviews…

I've had mostly positive things to say about it. However this forum exists for the express purpose of viewer discussion. That includes both praise *and* intelligent criticism. I do not appreciate being told I should not use it for its intended purpose. Perhaps you'd be happier sticking to fan only Web sites?

From the Time magazine article:

I got caught up on the second season today, and while I'm having several issues with this season, so far, I'm convinced the main fault is the direction from Lin. It's as though he really does not have the fine touch necessary for noir. I get the feeling he's instructed all the actors to try and recreate that rapid…

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Yay. Finally a mention of Ripper Street!

Kudos on a well-written piece, Genevieve. I enjoyed reading that.

What? No mention of the return of Ripper Street to BBC America???

And Scientology.

I can't find it now, but I wanted to thank whoever it was who posted a link to that EW interview with Walton Goggins. In it, he says that Boyd definitely knew there were no bullets left in the gun (which I suspected and hoped), that a part of that scene which would have made it clearer to the audience was cut in the…

How different and more memorable could that finale have been in this day and age of shocking, main character tragic endings? I still can't get the satisfied grin off my face. I am sooooo happy they didn't kill off anyone who didn't need killin'.

I can't stop thinking about the missed opportunity in that Stannis/Snow meeting at the top of the wall. Just one good shove, Jon, and we'd all been rid of the One True Bitch.

Thank you for this. It's what has been bothering me, too.

Well, I just finished reading the interview with Peter Gould over at EW, and he says they wrote that last scene with the goal of letting the audience fill things in and "do the math," because, "I don't want to trample the things that people are bringing to it." He alludes to possibilities I don't want to spoil here,…

I get that this is a nonlinear story. I guess I worded that question badly. What I meant was, how much more time passes in Jimmy's/Saul's life, from the time he drives away from Mike, to his involvement with Walter White?