There needs to be a good, proper analysis of the placeholder text in Arrested Development's newspapers. There's a season one episode where it basically alludes to Michael* brutally murdering his wife.

I think casting Harry Styles is kind of a genius move on Nolan's part. One must assume he's got a reasonable skill as an actor so he won't fuck everything up, and it opens up a whole new demographic of people who might never go see Dunkirk otherwise. If the film's good and the kid's got a solid, substantial role* this…

Astrole.

Azkaban showed what it could be in the hands of genuine auteurs, and Deathly Hallows P1 showed what could happen if you weren't trying to cram it all into one movie. They're the "good ones".

Bell wasn't on Radio City though, and that comes before the major weirdness.

The songs themselves on Third are as good as anything else they did, but it's the shambolic mess of the recording that makes it both the least realised and most unique of their albums.

I got married in June. Means I can't commit to the "2016 is 100% awful" message, which I regret immensely because holy shit it's been a fucking mess.

"Lisa, I'd like to buy your rock."

The tech 1408.

I had to pause the episode at that one. Maybe it was the word "anus" or just the pure venom, but I was absolutely dying.

15 Million Merits, Entire History of You and Be Right Back are all very strong in concept and execution, and I think it's to do with establishing the sci-fi of the world and letting the plot be driven by human relationships of love, loss and jealousy; ones we can more naturally relate to.

Also kind of true.

I know they're a proper band, and went on to prove that their talents did indeed far outstrip N*SYNC, but I was going more for your specific objection - that they were a boy band for teenage girls. That's what Beatlemania was. The difference between them is more to do with the progression of the music industry as a…

Reminds me of this other band of young musicians plucked from obscurity, tailored to be clean-cut popstars for the tween masses and appealed mostly to screaming girls before people began to appreciate their quality.

I didn't mind Viggo's slips, as I felt his accent was tinged with Irish (especially in his first scene - "To disappear entirely, that is a rare gift") so it was reasonably hidden.

There's a point where I feel Scrubs started to lose its way somewhat, and that's near the end of season four (which for the most part is pretty dynamite). Part of me thinks it's because Garden State came out and Zach Braff maybe cared less, but even putting his performance aside it does get a lot more cartoony in…

It's a difficult situation, because on one hand people can be dicks so you want to be able to have your main character be a real character who is capable of being a dick and not some infallible super-good, but the risk you run is, well… making your main character a dick.

Yeah, I understand from a drama point of view the importance put upon making the main character's relationship status in perpetual flux, but I did feel like they could've just left it as "Turk and Carla are happily married, then have kids later" and never really tried to force drama into the beta couple (like they did…

Don't know if I'd put it above any of the first four seasons but season eight was indeed pretty great. Didn't think much of the Bahamas or Muppets episodes, but some - especially the one with Glynn Turman as the dying patient, plus the finale - were tremendous.

Steve Zahn is a national treasure, and the fact Tom Everett Scott didn't become a massive star is bewildering.