Literally any excuse to get Caity Lotz into '20s era flapper attire is an automatic A for me.

. . . dark and full of terrors.

God, I know it's a dumb comedy, but I want to smack Billy Crystal in all of the "writing" scenes in that movie. Who gives a fuck what "the night was . . ."? Move on, come back to it later, you shouldn't start your book with a description of the weather anyway.

I don't think Charlotte wanted to prove the hosts are dangerous, she was just using the IDEA that the hosts were dangerous as an excuse to get rid of Ford.

There's also a bit when Hector is in the middle of stealing the safe and the folks in control say that a family has cut their narrative short and is headed back towards town, so they have to wrap up Hector's narrative and clean up the bloodbath in the streets before they get back.

That dude's the worst boyfriend ever. I walk in on that, my thought is "these ladies are fuckin awesome!". It certainly isn't "flee, run away . . ." That dude was a wuss.

Well, yeah, except for the awesomeness and adorableness of it. From a storytelling perspective, there wasn't much else they could do . . . she's from an unrelated universe, there was no opportunity for personal stakes. It was still worth it just to have her there, being awesome, at the FUCKING HALL OF JUSTICE!! (Yeah,…

“I know why you didn’t tell me. You didn’t think I could handle it. You didn’t think I was strong enough. That’s the same mistake people have been making about me my whole entire life. And it’s the last mistake that fucking demon will ever make.” I absolutely believed that she was going to be chopped in half by…

Or better, this movie taking place at Initech from Office Space.

Yeah, I definitely want the version of this movie where different departments band together in their own little barricaded enclaves trying to pick off other departments. Maintenance, Janitorial, IT, HR, middle management, upper management, customer support, sales, etc.
And really, upper management would be the first…

True enough, but I think the problem wasn't that they weren't subtle, it was that they didn't exaggerate enough. Satire only works when it's blown to absurd lengths. Anything less and it comes across as preachy.

"she's the only main character who's LGBT in the three shows", You're forgetting Curtis.

I prefer the movie answer. Yes, for the story, it's a far smarter choice just not to explain it. But for the batshit movie that was never going to make a lick of sense anyways, I dig the half-assed explanation that doesn't explain anything. "It's caused by . . . . uhh . . . a comet, yeah, what the fuck, sure, that's…

My favorite scattered accents is still Highlander, with super-Scot Connery playing a Spaniard and French Christopher Lambert playing a Scot.

Don't forget King's cameo when an ATM machine starts printing "ASSHOLE" over and over again. "Hey, come over here, sugarbuns! This machine just called me an asshole!"

That's fine, I like all sorts of shitty movies. Hell, I kinda like "Hackers", even though I know it's crap and has fuck all to do with actual hacking (or computers in general, for that matter).

Well, there's a difference between not 100% realistic and distractingly wrong. Especially when the problems are relatively easy to fix and wouldn't really affect the story, but the filmmaker was just too lazy to bother getting it remotely right.

Yeah, what the fuck was with the Eye of Providence on the backs of their helmets?

With this blast from the past, I want to, again, share my theory (welcome to be used by the powers that be, by the way, no attribution necessary) that there is exactly one way to make the three movies and the series make sense together. Ash in "Evil Dead" was the shy one, the one who survived almost entirely by chance…

The "you don't need a Dawson's Creek-style love triangle in your superhero series" lesson is one the CW took 10 seasons of Smallville and a season of Arrow to finally learn.