Did you say "The War Games", or "the first six years of 'Doctor Who'"?

Oh, Woody Allen!

While it's abhorrent to imagine a child-abuser getting away with it, that doesn't mean that every accusation of child abuse need automatically be accepted as true. The principle of innocent until proven guilty applies no matter how heinous the alleged crime.

Wow! Ninety-nine per cent of people believe everything they're told! I never knew that before!

Okay. I wouldn't agree with all your points, but I do think ones feelings for any given era of 'Doctor Who' are best reflected in ones feelings towards the stand-alone episodes, and that often depends on how one feels about the characters and their relationships ; if that doesn't work for you in the Moffat era, then…

"FUCK YOU" seems like something of an over-reaction. I have more time for 20th-century Who than E.Buzz seems to, but he's entitiled to his tastes.

The show seems to me to have a lot more continuity and connectivity under Moffat than it had under Davies, for better or worse. Anyway, complaints about filler episodes always strike me as strange in relation to 'Doctor Who', since part of the the programme's appeal is its ability to tell a completely different story…

Yea, those lengthy discourses about agrarian reform are pretty tough going.

In the end, it turns out that time did it!

I've never found 'Who' a chore (except, perhaps, when I've tried watching some of the longer classic serials : there's only so many captures and escapes I can sit through), but 'Torchwood' was a show I stuck with only out of a perverse sense of loyalty to its parent franchise. The first two series were so-so - not…

Don't give up! The advent of the Smith/Moffat era rejuvenates the show.

Too many books of great length and high status feel like a challenge and a chore, rather than a pleasure. Even when the book is good, if I feel like I'm reading it just to have read it, it drains the enjoyment from it.

Well, yea, it's a fabulous atlas of a consciousness, but it includes repetitive discourses on sexual obsession and jealousy, and long tedious depictions of society salons. Parts of it are a real trial, I think, but then every few pages you come across a phrase of such illuminating beauty and wisdom that it redeems…

I think Noah is through the toughest patch. I found Sodom and Gomorrah and The Captive to be a slog, but things pick up with The Fugitive.

Mycroft has always been presented as being as smart as, if not smarter than, Sherlock, both in this show and in canon. This includes deduction.

I'm ambivalent about this season overall. I found each episode quite entertaining, and I don't mind that they emphasise character interactions over the mystery plots. The problem is that such character development feels insubstantial if the show doesn't follow through on consequences. I like the flamboyant…

I was relieved that Mary's marriage to John didn't turn out to be some sort of scam. That they sincerely love one another, and will go to great lengths for the sake of their relationship makes the episode work.

I don't think that Sherlock's killing of Magnusson is presented as an heroic moment that we're supposed to cheer, and I don't think it's intended as a masterful piece of tactical intelligence. It's a desperate, emotional action, whereby Sherlock puts himself on the line to protect the people he loves. That's what…

Also, at the time he wanted to get his hands on the hard evidence that he believed existed in Appledore's vault.

Inconceivable!