I just rewatched Ghost Dog last week (I'm making my way through every Jim Jarmusch movie), and you, sir, are insane.

Man, The AV Club is really pushing this 4/20 angle today. If there's much more of this, then I think we can rightfully call them enablers.

I'm fine with art that's surreal and breaks laws of logic and reality. David Lynch, Luis Bunuel, or MC Escher all have a right to flaunt logic. But it didn't seem like that's what Locke and Key was going for. It's more horror fantasy. It's not creating a surreal world as much as it's creating a world where magic can…

But even magic needs to have some sort of internal logic to it. That's the case with the rest of the comic book. With the memory key, or whatever it was, it brought up too many questions as to how it worked.

This was a pretty good comic, but the one thing that always bugged me was the key that allowed you to literally open up your head and take out your memories. I mean, how the hell is that practically supposed to work?

I've been listening to the latest album by Milk Music, Mystic 100s, which is a really great garage-punk album that has flown under the radar this year.

I've been rocking The NOTS's Cosmetic since earlier this year, and it's a great lo-fi punk album. The bass line on "Inherently Low" is worth the price of admission alone.

That's a reasonable explanation, but I just don't understand why most people would visit New York, or any other city for that matter, and decide to eat the same crap they could get in their hometown.

It's actually more frightening to think that art and new thoughts are ineffective against a dictatorship not because they're censored but because people are just too stupid and ignorant to spend time reading them.

The shallow wife character is definitely dated, but the idea that people no longer have an attention span and can only process little nuggets of information is more relevant today than it was in the 1950s.

That's kind of a difficult question. I personally enjoy The Wire more, but The Wire probably wouldn't exist if it weren't for The Sopranos.

I rewatched The Wire a little over a year ago. It's just as good today as it was last decade. In fact, it was so good, I realized that no TV show has really improved on the format, and it lead me to decide to seriously cut back on television because there's so little of value on the air today.

So long as we're complaining about Boomers, what about the fact that they've been bitching about the direction the U.S. has been going for decades now, and all that time government and the levers of power are controlled by, wait for it…Boomers! It's like they're too stupid to realize that they're the assholes dragging…

I want to say that there's no way a major news network will touch him now that it's painfully obvious he's a sexual predator, but then again, CNN did hire Corey Lewandaowski even after he manhandled a female reporter.

"I like telling people what to do. Is that what psychiatrists do? Do they get to tell people what to do? I like to hear people’s secrets and then tell them what to do. If that’s a psychologist or psychiatrist, I’d like to do that."

I absolutely love how they had her deliver that information from her car and then drive out of frame when it was time for the shot to end.

But if they left early, then they would have missed the teaser for Kenneth Lonergan's ROM Spaceknight movie.

I've always wondered who's responsible for making the credit. They need to get their own credits.

Oh, yeah. Stranger Things was fun. But there's nothing on the level of Deadwood, The Sopranos, or The Wire. Hell, outside of Stranger Things, there's little on Netflix to compete with second tier HBO like Game of Thrones or Westworld.

Kimmy Schmidt is funny enough that I'll forgive it for being so uneven. I couldn't get into OitNB, and haven't checked out Miss Dynamite. But compared to competitors like HBO or FX, Netflix's track record is mediocre at best.