DISQUS

Seems to be a dramatic, rhetorical, or perhaps simply rhythmic device. Or it could be structured thusly to place the most relevant information at the end of the sentence, keep that semantic and contextual tie to the next sentence. The Godzilla vs. Monster Zero sentence is supposed to introduce and explain what the title pertains to, but structured in this way, the title is placed in such a position to carry on -- like a baton in a relay -- into the next sentence.

I don't necessarily see it as condescending -- a bit pretentious, perhaps, but not even necessarily that. I do agree, though, that "the 1966 Japanese film Godzilla vs. Monster Zero" is a much better construction with the dramatic/contextual structure intact; "a Japanese film of 1966" is...awkward at best. I think a more...vociferous defender of the language would simply call it wrong.

I'm going to agree with all of your picks except that I think Ruby Dee will pull out an Oscar. Other than that, I think you're pretty much dead-on, as per usual. And you're absolutely right re: Ellen Page and Tilda Swinton, who're both made of awesome. You can have your over-collagened sex symbols, give me those two any day of the week. (And Cate, well, is Cate, and simply beyond reproach -- she's just the embodiment of elegance.)

Well, Hal Holbrook might surprise us, too -- I can't discount how respectful of age and experience (versus the actual performance) the Academy can be....

I was pretty tired of this show amid the second season -- I think with the end of the third season they've caught their stride again, though, and acknowledging some of the inherent weirdness (Miles talking to ghosts, Faraday noting the time discrepancies) is enhancing it. I'm certain that there's a time travel aspect coming into play soon -- I'd be delighted if it ended up invalidating the flashforwards, but I don't think that'll happen, necessarily. I think the flashforwards are my favorite part, though, just because they mix up the narrative in a relatively fresh way.

I'm still wary of JJ's inability to eventually close the deal and give, well, answers instead of just more questions, but given the show's limited life span and the talent he's assembled (including Goddard and Vaughn), I'm willing to believe this time out.

And yes, I fully expect to see much more Christian Shepard.

Whedon's run on Astonishing only once or twice sounds Whedon-y to me. It actually sounds more like Claremont in his terse moments, without the repetitive narration boxes. I think he makes one or two simply baffling plot choices (the gist of the Danger storyline, for example). I admit, I like it much more than I like Season Eight, which I find okay, but just not...clicking like I was hoping it would for me.

And while we're talking X-Men runs, Grant Morrison's New X-Men run is also worth a look. It runs off the rails a few places, and it has Frank Quietly (and some of his better work, honestly, but God the man is an acquired taste at best), but in its later run has Paul Jimenez and a decent Magneto storyline.... It's very much the precursor to Whedon's run and is full of Morrison's typically mad beautiful ideas and engaging characters.

Dark Knight Returns is Miller's opus, I think; I don't know that the man who wrote All-Star Batman and Robin has another great work left in him. TDKR is him really getting it. The only problem is it doesn't look as groundbreaking anymore, because I think he changed the Clark/Bruce dynamic in such a way it was hard to see it the same way after he was done....

Sandman is worth all the praised heaped upon it and I'm going to refrain from badgering you on it; it lends itself well to being consumed in bite-size chunks (though the early run's single issues stay with me the fondest, I find; Calliope's hard to swallow but Midsummer Night's Dream is just about pitch-perfect). Watchmen I can imagine would be difficult to finish, but it's one of Moore's most balanced, fully-integrated works. It's one cohesive whole, no matter how disparate those elements may appear in media res. It takes years for all of it to properly simmer in the subimagination. It will be hard to get through, I know -- it's also probably darker than everything except the darkest issue of Miracleman -- but especially with the movie upon us soon, you'll want to get through it. It's still a bit dated, but fantastic.

Y: The Last Man is quite different: read a few issues and if you're not hooked, don't keep reading. That narrative is perfectly suited to the serial format, it pulls you right along through the storyline. I was less satisfied with the resolution, but the trip was something else.

I have to echo Astonishing, Dark Knight Returns and Y: The Last Man. Watchmen and Sandman should go without saying. Those are my five strongest recommendations -- many of the others are by no small mark brilliant, but...less accessible. I don't deny the power and the craft of Maus, but it's obviously not a casual Saturday afternoon read.

The Iron Man ad was cute, and I haven't gotten to see the silent Pepsi ad (though the description from earlier makes me wanna see it).

My favorite of the ones I've seen has to be the NFL's own ad, "You Should Play Football."

Sounds like someone's figured things out on her own. And all it cost her was the ratings of all her books on Amazon.

But no, "sex scenes in moderation" doesn't get attention. Hawt nekkid alien chixx does, I'm afraid. I can't wait to see what happens when they discover hentai.

Fox really doesn't have a news wing. The entity called "Fox News" is not beholden to journalistic constraints and instead operates as a hit machine for a conglomerate of interests. No, I know you don't have any beef with them, but this is more or less typical -- vague generalities with no practical basis voiced by "experts" with tenuous qualifications.

The other major news outlets have an interesting take on trying to balance their coverage by devoting time to shouting heads from opposite sides (whether as hosts or simultaneously) -- I'm not sure that's at all effective, but I can't see how an impartial observer can find Fox to even attempt objectivity, I'm sorry. It's clear Mass Effect is not a titillating game, and it's not trying to be.

Either by hysterical fear or intentional distortion, these people are blowing this perceived threat utterly out of context and proportion and silencing dissent. I'm afraid this is not new.

Were you as surprised as I was that the role of Susan was played by someone named Michael Hyatt? Or was I the only person to be utterly fooled there?

I will miss this show, homes.