'Amylicker'? How delightful.

Oh, I have no problem at all with everyone being friends.

Nope. There's also 'we cannot reject the hypothesis that God does not exist.' NOT the same thing as a categorical statement that God doesn't exist.

It's very, very hard, after reading this, for me to believe that you don't nurse a fantasy about Sheldon and Penny getting together.

If you can talk them into releasing a live broadcast (like the National does in the UK), then let's make this happen!

Oh, Smith nailed the ugliness of that final 'a gull, a knave, a thin-faced knave', I agree.

I also saw the RSC version. Ben Miles is an even skinnier Cromwell!

I whooped with glee when I saw Fassbender's name on top of the list.

BEN MENDELSOHN!

I've never seen a definitive Viola, either. I'd love to have seen Judi Dench's take on the role, and the 1966 production with Diana Rigg (Viola) and Alan Howard, if only because Howard's take on Orsino is described as 'angular', 'anti-romantic' and 'like a Petruchio in the wrong play', and I would love, love, love to…

Oh, I'm envious. What is your fantasy cast? I'd love to have seen Philip Seymour Hoffmann give Sir Toby Belch a go, or-oo,oo!- a Fry/Laurie reunion as Sir Toby and Sir Andrew Aguecheek, respectively. Or Jon Hamm as Aguecheek- I adore him in comic roles. Or Irrfan Khan, because I heart him and I'd love to see what he…

They didn't. He's wonderful, though- just the right combination of impetuosity and calculation.

That really may be my favourite production of 'Twelfth Night', a play I love dearly but which directors will insist on stripping of all of its laughs and parading before audiences at its wintriest and most Chekhovian.

I would recommend buying the ebooks as well. If you are interested in the period, and you like your dialogue spare and with an almost contemporary clippedness, the treatment is a fantastic (perhaps superior?) companion piece to Bolt's 'A Man For All Seasons'.

Bizarrely, while I really like Rylance, I thought he was miscast as Cromwell. He seems vulnerable to me, openly woundable in a way that mantel's Cromwell never struck me as. I also think that the telescoping of the timeline meant that Pryce just didn't have the chance to make an impression.

It's difficult to explain, but I'll try. My issue is not really that Danny didn't turn out to be who I thought he was. Well, let me be honest- I admit that I'm invested in the idea of Danny being a better person than he seems to be, and that might be colouring my reaction.

Ugh, yes. Danny's doubling-down on villainy in the face of evidence that his confederates killed innocent young women in cold blood was just face-palmingly eeeeeeeeeeeeeeeeeeeeeeeeeeeevil. It took all the nuance and conflict and tragedy from Danny and torched it. Mendelsohn is still wonderful, of course. I am so…

I don't know that I find Meg the most interesting character on the show. I do sort of think that the writers have used up most of their powder on John and Danny (before he turned into a full-blown moustache-twirler). BUT I like the throughline of Meg's character, and I think that the actor has room to manoeuvre with…

I agree that the show has problems with its female characters. I'd argue that that's because it's concerned with the destruction wrought by characters such as Robert and Danny, and the archetype of the poisonous father/son relationship, and unfortunately that leaves out everyone who doesn't directly fit into the mould…

Surely someone else is moved/creeped out by the way Danny says 'Momma'. That, right there, is a microcosm of Mendelsohn's work in the role: plaintive, yearning, needy, wheedling and with a siren's manipulation in it.