Yes, but they probably don't do Eyes Wide Shut things to find them. More likely, they go to wineries, pumpkin patches, things like that.

I give him credit for realizing that Ray has no motive to kill him if he truly didn't set him up. Once that threat was resolved, or at least redirected, the best course of action was to convince Ray that they are both victims of human nature. Which is a pretty fair point.

I think she did that because she was physically wretching from the situation and felt like she needed to do it. Disgust reaction, etc. I don't think it was intended to clear her head or imply the drug could be rejected like that.

-Vaughn's acting actually worked quite well in that scene with Farrell. The cuts between Farrell's intensity and Vaughn's stoic morbidity were so jarring, it was distracting at first. Having Frank act loquacious as a survival mechanism is the best use of Vaughn's talents, by far.

I think Frank said he was alone because he was trying to assess the situation. If Ray posed a threat, then obviously, he doesn't want to expose Jordan. But remember that Frank is essentially a mob boss; aggressive, disrespectful knocking on his front door is a big red flag for someone that commands respect as a…

Frank, apparently.

-Wouldn't it be great if Paul's writing continued to be awful and alienating, and then at season's end, he dies? Dies terribly, contributing nothing to the larger plot? That'd be an interesting choice, at least.

Modern Warfare 2's 'No Russian' level, where you play as a mole in a group of terrorists mowing down civilians in an airport. Got a lot of flack for, essentially, portraying realistic consequences to Call of Duty's increasingly consequence-free violence.

-Ani's conversation with her sister was so. Bad. Lord.

-"Mr. Twain, it's an honor. I love your work." "Ah, well, thank you, huge woman." "It's Hortense." "Yeah, that seems right."

Yeah, I really butchered that. I forgot about the stroke implication, I thought they both meant they were extremely angry.

-Farrell dryly uses the word 'epiplectic'. Vaughn counters by affirming that he also knows the definition of 'epiplectic'. Riveting television.

-"We're breaking up."

-Lillian, confident she can pick up on sign language: "I mean, how hard could it be? It's just hands."

The number of strangers that mentioned Kate's mustache was always my favorite part.

-Narrative explored through 'recounting past to listening police' trope.
-Morally tortured protagonist encounters tragic violence against women, turns out he's 'morally tortured' in the first place due to tragedy befalling his daughter.
-Protagonist sleeps with the wife of his partner (just as they were becoming…

-Vince Vaughn's only expression seems to be "I didn't realize the dialogue was this strained. I'll just do all the acting with my eyes. Hey, make sure everyone knows how tall I am. My character emotes chiefly through his…height."

He lost all his cavalry, which was the deciding factor in routing the Wildlings. Marching on a (reasonably well-stocked) fortification with no cavalry or siege weapons? Doomed from the start. The real question is, why did so many continue to follow him? Other than, y'know, watching Stannis burn his daughter and…

Warging into a simple-minded giant: Myth.

-Does anyone else expect Ramsay to attempt to kill Roose? I mean, it's obvious he'll probably kill his mother-in-law, but he knows he's on borrowed time as a legitimized bastard. It would be nice if his streak of good fortune lead to overconfidence.