I can overlook the many flaws of TDKR because of the scope of its ambition. The whole is better than the parts, I would say.

Frank's story about throwing champagne balloons out of a limo in the middle of the night had me dying. "Hey, how do ya like the taste of the good life, ya sack of shit!"

I loved the movie and was completely engrossed until he fell into the black hole. I hated the last twenty minutes with such a passion, I think I was a real drag on the group I went with after, when I was the only one without tears in my eyes. Fuck that fucking last twenty minutes.

I love A.V. Club SOA comments for this post and all the other similar posts. I feel like so much of the internet has a hard-on for this show, it's insane. You look on Twitter, for example, and people act like they're watching the greatest drama every told.

Quick comparison of Bobby's being shot to death:

Love this post. Whenever one of the main characters does something horrible or out of line, I feel like the writers still expect the audience to cheer along.

Did anyone notice? Melo's WTF cameo was the best part of the episode!

Thor McHuge!

Yeah but still.

NO. Just…no. Is this true?

LOL! Amazing. Been so long since I watched or even thought about Dexter I forgot about that dynamic.

While every other show runner is forced to tighten scripts to the max, SOA can just air extended episodes. Good lord. The hushed, pause-filled, emotionally flat-lined conversations are just brutal, BRUTAL to sit through. At one point, I looked across the room and one of my roommates had his shoe off and was just…

Agreed

So glad to have the 100th like on a comment that pretty much echoed what my hate-watching friends I were laughing about during this episode.

1922 caught me a bit off guard. It was so brutal and brilliant, it really blew me away.

Breaking Bad homage last week, Sopranos this week? The raid on the massage parlor looked almost exactly like Furio's rampage in season two, although shorter.

Since you mentioned the guy who plays Pazuela, it reminded me of something I've noticed on this re-watch. I already finished the series for the third time last week, so I might be jumping ahead, but Wallflower, I'm interested in your take

How does the music supervisor for this show even…I just can't fathom…who the fuck chooses the music for this shit??? Do they just throw darts at a wall of obscure, terrible early-2000's nu-metal to put over the obligatory chase scenes? And damned if they aren't also skilled at finding god awful covers, like last weeks…

If you like long, subtext-free, conversations in uninteresting locations and pauses between every…fucking…sentence, C'MON IN

Apt Pupil is probably in my top three King stories.