For all of 1 you can infer or are told all the info you need to know pretty straightforwardly: the people are Gallifreyan plebs to the Time Lords' aristocracy; they could live there for any number of reasons - work, money, family; they know who the Doctor is, and thus know, on top of him being a war hero, that he's a…

'Doctor Who' is designed to run on and on - they'll always need an entry character because each series is intended to be a point where someone can start watching. I can understand why they're reticent about having an alien or non-contemporary companion.

They're on the Ewoks' turf and are caught totally off guard I figure.

I think you guys are missing the point. Donna doesn't devolve to some lesser prior state, it's that she's had a chance to see how good a person she actually is - the tragedy is that, while she's still that good person, she loses her knowledge of it. There's a lovely idea about not judging people, no matter how, in…

There are extremely few female directors with experience shooting big budget science fiction. That is a consequence of sexism. but so far all of the Star Wars directors so far have that track record.

"(It may or may not say something about the current state of the series, feminism-wise, that taking meetings with a bunch of women can be seen as a big step forward.)"

Because the billions of Doctors who go through the process - including the one we spend most of the episode with - die.

There were stories with moving rooms in them long before Harry Potter, and there will have been tonnes since. Some of the people will have nicked the idea, consciously or unconsciously, from somewhere else, others will have come up with the idea themselves.

I recently watched Aladdin, having not seen it since I was six, and when Aladdin steals the bread and gives it to the orphans, the bread looks incredible. I've no idea why, just the way it's animated and coloured.

Not necessarily - they might just be a bunch of spies who get the plans, suffer some losses, and, after succeeding, resume spying duties or whatever it was they were doing before.

It's not an oversight - it's opting for drama and visual punch over realism.

I have a question as a non-American. Back in the good old 1980s and 1990s, was the U.S.A.'s religious right a much quieter, smaller, and less nuts group?

I really didn't like this scene. I thought the finale was perfect right up to it - the escape, the battle with Dolaryhyde, and Will taking Hannibal off the cliff to their likely deaths was all masterfully judged and neat - but the pretty straightforward hint that they survive and Will turns fully to the dark side…

Oh no, I've only seen the film once, but I remember liking the look of the Nazgul in BotFA. The scene had a very weird look to it that I thought was very effective, even if it was the product of it being rushed.

Easily. Any problems with the Hobbit films derive from padding or stuff added to the main narrative. There's an awful lot of brilliant stuff - it's just between lots of foot dragging.

I had a bizarre fondness of Wedge as a kid too. He projects understated competency and decency. People who like the films without being major fans always seem to remember him too.

There's a vein of really dark humour running through the Star Wars films, particularly Jedi and Menace: Oola, the little sandworm that freaks out outside Jabba's palace, the various Stormtrooper death by Ewok, the little chicken thing Jabba flicks off his ledge at the podrace, the deaths of so many of the podracers.

Even 'Doku' - as in 'Dough-koo' - would be better than Dooku.

The best accidentally sexual Star Wars line is, "Evacuate? In our moment of triumph?!"

They're never made out ot be the source of the Force! - just a link in the chain. And they and their relationship are defined in such a wishy-washy way that you can essentially ignore them.