This is my favorite movie ever, hands-down. I've liked all of his films, but none of them (except parts of Syndromes) hit me nearly as hard, to the point that I could barely breathe after my first time watching it.

There may have been better Newswires, but no single finer sentence in the O'Neal oeuvre.

Of all the scenes this year, I found Sister Ingalls' force-feeding the hardest to watch: the show really goes light on how difficult prison can be, even in minimum-security, but this was a blunt reminder that the system controls these women's bodies, even when it's not strictly legal to do so.

The Fischer incident I found really interesting because, yes, he did it just because he was hurt over his rejection, but she also gave him justification for doing it. She was upset he challenged her authority in front of the inmates, then she turns around and challenges his in front of the other guards. I sorta like…

Cal is a great character trapped in the wrong show, but at least he allows the non-prison segments to breathe. He has a line in Season 1 that could sum up the whole show for me: "Could we maybe not talk about my sister?"

Especially given his fairly low opinion of women in general.

If I remember the premier of Book 1 correctly, it's a lot more ambiguous than that: the first time we hear about Amon and the Equalists, it's from the guy handing out flyers in the park complaining about benders abusing them - and given what we see early in Republic city, with roving gangs, it sounds like they have a…

I'm at least happy the two seconds of brooding Mako was followed by the other characters making fun of him, which is yet another reason to be optimistic about the season?

Yeah, I'm far more optimistic about the season so far (watch that come back to bite me in the ass later). For one thing, the season's antagonists are already clearly established, and there's a real sense of trajectory to what's happening so far instead of aimless muddle. For another, the character writing was sharp…

I'm hoping that next season makes explicit something that was kinda/sorta implicit in the first two: Alex and Piper's heroin dealing wasn't exactly a victimless crime, and they're probably responsible for more real-world hurt than half the people in Litchfield… They just get to remove themselves from that…

Yikes, no. It just reinforces the fact that Bennett has all the authority and the girls have none. Bennett threw someone in solitary confinement - that's not "a set of balls", that's cowardice.

I did appreciate her cluelessness, though: she was complaining that Caputo challenged her authority in front of the inmates… while challenging his authority in front of his employees. Fischer's lack of bigger picture has always been a liability, so I thought that was true to character.

Each narrator says, at some point, the phrase “no country” to themselves or another, with varying shades of meaning.

I mean, Avenue Q, unless that's too obvious.

I saw this in the theater when it first came out, and don't remember a thing about it, apart from a bit of the on-stage climax. It left pretty much no impression on me.

Yikes. "Moment in the Woods" is, for so many reasons, the most important piece in the musical.

I dunno: I can't even get into the meet-cute aspect of a couple where one partner can lock the other up in solitary for no reason at all, if he decided to. I don't think it's spoilers to say that the show is going to explore Bennett's relationship to his own power a bit more as the season progresses, but even last…

I was worried when Pennsatucky came back in the first few episodes as much of a cartoon as her worst moments in season one, albeit a different type of cartoon. But now things are turning around, they're figuring out what to do with her, and Manning is hitting it out of the park.

I only got Flatland because the key ("My sons", "The Butler", etc.) all seemed to be referencing the pentagons and triangles, respectively.

If you’re in this for concrete answers, you've come to the wrong place [/Tyrion voice]