I've never heard 'cohort' outside academia.

It was fine. The Terminator films, like the Jurassic Park films, should ideally be action set pieces with fairly inventive connective tissue; T3 didn't really know how to build tension within its action sequences so the film was fairly inert.

While there's a fairly-well delineated conservatism you have to practice, it's possible to sneak a personality in. Like, the original Jurassic Park has a very specific vibe and some weird and masterful plot construction and was a monster hit.

Has it displaced the Avenger's yet? 'Cause they feel much of a muchness corporate-product-wise

I don't watch the Bachelor either but I've watched a fair amount of reality television and I've never seen a promo composed of footage that doesn't air in the next episode. Practically every 'next week on Survivor' hints at an incident that doesn't come to pass but the "mendacity" is in how the promo poses itself, not…

I met him once when I worked in a bookshop; he was going from indie to indie selling his wife's autobiography. It was the week after (spoiler) Ned Stark was beheaded and I couldn't but tell him how much of a thrill I got from it. He then proceeded to geek out about both the show and the books.

I met him once when I worked in a bookshop. We had a pleasant conversation about The Wettest County in the World and it was only after he had left and one of my co-workers asked me if I knew who I'd been talking to that I realised it was him.

I haven't been watching this season consistently so I'll recuse this criticism from applying to it; in season 2 however, immediately following the assault, Margot was allowed a single, wordless scene to feel the pain.
More broadly, Hannibal didn't handle Margot's reaction well because it can't handle it well; it's a…

He had Verger force a hysterectomy on his sister, killing her child. That's pretty severe sexual violence.

I don't know that novel. The Little Stranger's quiet, kind-hearted and it lets the horror and social criticism creep up on you.

Absolutely and scale extrapolates for action sequences. A single threat, two or three inventive rules and believable problem-solving from the heroes and you're golden.

I say this more towards the abstract than towards Amy Schumer since I've never seen an entire set of hers but: there is a difference between playing a racist character whose racism is being ridiculed and playing a racist character who operates as a rhetorical defence for telling racist jokes. If a comedian tells a…

Kind of a weird place to say this but: Chris Geere's performance in You're the Worst was 75% of why I let the show go. His staccato, pitchy, sideways-mouth delivery has pretty much colonised British comedies and seems to be considered to do the same work as actual jokes. David Brent has a lot to answer for.

I really, really want to read that.

It may but it also puts its finger on the essential tension that characterises something cool: it's fascinating the less it can be quanitified. There's a really excellent essay by Andrew McKenna where he analyses a Malcolm Gladwell essay on 'cool-hunters' which pretty much wraps the concept in a ribbon.

I, too, would appreciate somewhere to check all that out.

The first clause of the line from the article is a bit of a chore to parse.

Thanks Diabolik.

If you didn't particularly dig the first episode, is it worth continuing with?

I'm still waiting for the Game of Throne twist that will outgross what happened to Verger's sister.