Claire's always been there. In fact, it's possible that her and Jamie's machinations to undermine the Jacobite cause helped bring about the disaster at Culloden in the first place. The timeline is fixed, but it's (from Claire's perspective) non-linear.

The revelation that Frank is descended from the decent and selfless Alex instead of the monstrous and hedonistic Black Jack is the plot point the entire episode turns on. Again and again, Claire has been confronted with the fact that the history she remembers from 1945 is immutable.

Yes, I was talking about the 2006 4K restoration used for both Blu-Ray releases. This restoration is night and day compared to the prints that Kubrick supervised the creation of in the nineties, which were limited by the technological constraints of the time.

It's remarkable what a good job Sony did with the restoration for this one, given the source elements they had to work with: a fine-grain master positive, a duplicate negative and, in some cases, even a release print.

I never thought Mary would be forgotten given that, according to Rev. Wakefield's records in the 1940s, she is Frank Randall's ancestor. It was great to see her stab her attacker, though.

I'm pretty sure she was introduced with the intention that she'd be a major player in season three. And then for whatever reason they couldn't get Michelle Forbes back.

"She's doggedly wrong, but she gets results."

I don't know, the constituents that needed servicing reminded me forcibly of the public hearing crowds on "Parks & Recreation".

I appreciated the attention the show spent showing what a brutal, savage clusterfuck battle is. Lots of movies and shows paint it as this noble, epic crucible.

I love that in the flashbacks to the season one era in this season's premiere, the license plates were Ontario license plates like they were in the pilot. But all of the present day scenes have generic nondescript license plates.

Or just see creepy dudes in the woods decapitating swans.

"Come on, let's just go home, alright. We will let Adele get us out of this first, and then I'll make you see God, Miss Hendrix!"
"Donnie!"
"Mmhmm. Here, hold my undies."
"Oh God!"
"They're dirty!"

I'm not sure I'm on board with them going back to the well with Alison in a musical, but there's definitely something to be said for the juxtaposition of Donnie getting the shit beaten out of him in his jail cell and the title song from "Jesus Christ Superstar".

Thank God for that flash forward scene to Boston in the fifties, with Claire and her vibrant young child. We needed that reminder that certain things would get better, given how much in this episode goes wrong.

In Ashcroft v. Free Speech Coalition, the Supreme Court ruled that depictions of minors engaged in sexual activity are constitutionally protected under the First Amendment if these depictions a) don't exploit children in the production process and b) do not qualify as obscene.

"The 100" and "Person of Interest" sort of represent an evolution of the "bury your gays" trope, in which the living breathing lesbians die but their spirits and souls are reincarnated as part of a higher level (technological) being. Death is not necessarily goodbye, at least not in the same way we normally think of…

It's because the story required the character to die but the writers (intelligently enough) didn't want to lose Amy Acker's incredible talent.

Oh shit, Gilfoyle's dating the AT&T girl? How did I never make this connection?

The Faceless God is owed a face. The implication was that it'd be the actress or Arya's, but I'm betting our girl will carve off a third option.

Dammit, Walder Frey, are you insane? Didn't you see what that man did to Jamie Fraser?