I get where you're coming from, but we're talking about characters whose day-to-day existence involves fighting with enemies who want to kill them. Obviously the shows are not meant to be realistic, but to not allow any of the main cast to die would be to fail to take the dangers of their jobs seriously. And the death…

I hadn't realized this was an adaptation of Fingersmith. Now I'm quite excited for it since the book was terrific.

Yeah, the show was hit-and-miss as a whole but the greatness of "Epitaph One" (especially in context) justified the time it took to watch it.

I haven't read or seen other interviews with her, but I thought she came off well in the reaction clip. Obviously she is not that personally invested in this stuff, which I think is probably healthy. I don't see why she should have to put any effort into remembering what people wore in a movie she was in 30 years ago.

PIZZA HOUSE!

My problem is that I don't think "she wrote Liz Phair songs in the same way she did before". All the great kinks in her songwriting - the key changes in "6'1"", the melodic shift for the chorus of "Strange Loop" (if that even counts as a chorus), the rhythmic enjambment in "Uncle Alvarez", the harmonic changes in…

Probably makes sense to just go chronologically, but you should at the very least find some stuff to like on both her next two albums.

For what it's worth, her solo work is way way better than the Blake Babies, who were pretty mediocre.

I never heard Hole's albums until a couple years ago, and the second and third ones are both great. They may not be your thing, but to suggest it's astounding that anyone liked them is ridiculous.

Hatfield's an example of an artist whose work is fairly dated but still largely really good. Her main problem is that all of her albums have a fair few stinkers on them, but at her best she was a terrific songwriter.

I think it's more that so much of the discussion about her was about a) her lyrics, b) her status as a relatively rare female in the male-dominated world of indie rock, and c) her lo-fi production, that less attention was paid to the musical side of her songwriting, which is what really makes Exile a great album.

I understand not wanting to overload on Guyville, but I would have liked to see "Help Me Mary", "Stratford on Guy" (which I almost always end up listening to when I'm on an airplane) and "Strange Loop". At the very least, if the playlist is only 58 minutes long, you could squeeze "Glory" on.

Interviewer: You used to say Exile In Guyville was a song-by-song response to Exile On Main Street. I was always under the impression that was just bullshit and people bought it.

Jefferson Airplane's "We Can Be Together" must be one of the earliest examples.

One I like that's not mentioned here is the Goodees' "Condition Red", in which the girl's parents won't accept her love because her boyfriend has a beard, so he drives off and crashes his motorcycle. Really goofy but with some nice creepy organ.

I've been listening to Janis Ian's first couple albums in the last week and they sound great.

I think you mean Navie.

Thursday Next.

Roald Dahl had a bunch - Augustus Gloop, Agatha Trunchbull, Boggis, Bunce and Bean, Mrs. Clonkers.

Sally Knorp, Miss Fingerwood.