Your toeing the line of ad hom aside, I'm not declaring that a poster with a person simply shooting another person would be "attractive" to me. It would depend on the composition of the image. Maybe it's indicating a murder mystery. Maybe it's some sort of noire thriller. Maybe it's a shadowy man in an alley with…

Yes, that's far more outlandish than his original theoretical example.

"They are people specifically LOOKING for the worst in that image, not the far more likely reality, as laid out by all superhero movies ever made, in the cultural lexicon."

Murder is a believable act, yet if a movie poster showed a guy shooting a woman (or anyone shooting anyone, for that matter), my mind wouldn't immediately jump to the assumption that the studio is making some sort of value judgment condoning murder. I'd be intrigued, and want to investigate the context for what I'm…

You're using a very goofy, calculatingly specific example though. Comic book movies have physical conflict in them. Does anyone not know this? Mystique is a member of the X-Men. She is functionally an equal to anyone else in the movie, except Apocalypse.

I'd love to know who looks at a poster of the bad guy choking the female protagonist, and walks away thinking "clearly Fox CONDONES violence against women! We must demand empty corporate form letter apologies at once!"

"Casual violence against women"…?

Why are people suddenly so convinced the Hound is coming back? Did I miss something?

Eisenberg aside, I think the Snyder films had decent casting. It's just easy to make casting choices look bad when you then ask those actors to do or say stupid things.

Yes Kinberg, the tone was a problem, but how about the conspicuous studio interference that pretty clearly takes around the time that "One Year Later" card pops up in the movie?

It could make for an interesting setting in a movie, though it'd basically be "I Am Legend", but with more people around.

Based on his mindset at the end of Ultron, he might just have flown the quinjet into space until it couldn't got any further, and then just floated out there, unconscious. Or whatever.

They regained it's trust because they restored her perception of context and chronology for their actions to date. Before that, it was just a chaotic, unorganized mess of violence in the Machine's eyes.

The really messed up part is that there are a disturbing number of students who really do act that way.

Yeah, the show has always played up how the Machine is his child, so Grace wouldn't make much sense.

The perpetrator thing is interesting, because while his number came up, it was the Machine's direct intervention that MADE him a perp.

As soon as Root was a coupe of minutes into her speechifying to Finch in the car, I said "oh shit, I do believe Root is about to die" out loud. It was Amy Acker rapidly putting a bow on her character's series arc, and delivering parting wisdom to Finch.

People like Barsanti are definitely trying to ape the O'Neal style, without the talent for humour. Just empty snark.

A line like "I'm paying to see that, and bringing all my friends!" does kind of sound like a guy shilling for a movie, if I'm being honest.

I can never remember - is that the one that also has the iconic page with the suicidal girl with the nose ring, who Superman talks off the ledge and gives a hug? God, that gives me chills every time I see it.