It was great! Easily my most played record of 2016, it's endlessly replayable. There were some missteps and a lot of crazy ideas, admittadly, but I think it definitely worked in the album'a favor.

I'll be that voice for you: Lemonade was hands down the best pop record to come out in the last five years. It's monolithic and virtually perfect.

Vroom, Vroom is a Charli XCX record, Sophie just produced all of it. It's fantastic though.

Oh you want a trigger warning, you precious liberal snowflake?

But that wasn't a turning point for Theon. If anything it was a turning point for Sansa. That's kind of the irony of the plotting; based on conventional cliches, you'd expect him to suddenly change after the rape, but he bucks that and even betrays Sansa to Ramsay afterwards.

Depth of character is another matter entirely, and I'll agree that most of these folks don't have rich interiority. But hey, I'm pretty okay with that.

You're absolutely correct. The hosts aren't real people. They're characters programmed to fulfill other characters' desires. I would in no way call that incoherent, but rather a deliberate choice in writing them (and also something very unavoidable, given the story. You mentioned Blade Runner, but that's clearly a…

Based on time stamps in the Easter eggs that went up after the episode today, it's apparently 2052 in WW.

Which characters had incoherent motivations? The hosts don't "want" anything; a number of them have been driven by Arnold's internal commands to seek out the maze—consciousness, that is, though clearly the exact meaning of that is lost on them. It's only when Dolores sees herself in the chair in this episode that she…

We're supposed to empathize with the hosts because they seem more like likeable and relatable characters than the humans. You could call it more meta commentary on acting, if you want, but I just think it's clever storytelling.

In what way was this not coherent? I thought it pretty firmly stuck to its thematic guns throughout the season.

Oh, I see what you're saying. I wouldn't call that emotionally invested so much as being entertained, though. When I think emotional investment, I think being concerned about how the characters' stories play out because you've come to care about them. I can still very much enjoy something for countless other reasons…

This seems likely. Based on how Ford's narrative on the beach played out, right down to him knowing William would stab Dolores so Teddy would take her there to die, it seems like the show gave him some kind of preternatural ability to predict people and their actions. I'm fine with it, Ford made a really great and…

Does a show have to be about something though? This is an earnest question, not a lazy Seinfeld joke.

I like this idea, especially since it's exactly what happened to me.

That…didn't really answer my question, though.

I'd heard they were both signed on for season 2, though. Unless there's some host shenanigans with Ford, I assume he'll be showing up in flashbacks, and William will be using his knowledge of the park to fight off against Wyatt/Delores's horde.

Specifically in this show or in general?

Based on some easter eggs over at the Delos website (updated since the new episode: try "reverie"), it looks like that's the case.

But Because the Internet is great.