Yesterday I watched Epitaph Two. The fact that I systematically squeed at and for Topher, Alpha, and Victor (OMG, VICTOR), clearly shows I failed to get the show's message. And Adelle was as heartbreaking and awesome as anybody could ask for.
As further proof of my not-getting-the-message-ness: I'm aware that doll tech was at the root of the thoughtpocalypse, but now that you have to rebuild the world, I kinda think that you can certainly use doll tech; you're going to be short on people, and need all sorts of skills. Victor had the right idea.
At first, Secret Six #23 seems to be a rehash of The Deadliest Game (a plot every character in human culture seems to have to go through at least a couple of times)... but then you realize that the plot is actually about how irrelevant are plots like that to characters like these.
The same can be said about Fantastic Four Annual #32. It seems to be a story about FF as a family (in the most direct and biological of senses), but by the time you get to Fantastic Voyage stunts and time machines, you understand that this is very much about how different the FF are, even as a family. [A minor addenda: For Doylean reasons, power inflation is a common problem for comic characters, from a Superman who at first couldn't fly, to the change from Silver Era Batman to Morrison's JLA Batman. But in the case of Reed Richard's move through the years from a sort of Einstein into something a couple of orders of magnitude above, I favor the most simple Watsonian explanation of them all: if he hasn't been experimenting on himself in order to become even smarter (and more than slightly fucking with his emotional and social skills along the way), I'll eat Ben Grimm's shorts.]
Finally, Tom Strong And The Robots Of Doom #2 is as basic as you can get, plot-wise: the hero's evil son goes back in time and helps the Nazis conquer the world, etc, etc. It's not unfun, for another of those Ubiquitous Plots, but I'm waiting to see if something else comes up.