The director doesn't care if it makes sense: they put in scenes like that purely so that the studio can distribute tantalising stills.

Unfortunately, I don't know how true this actually is - babies aren't, toddlers aren't, but at four or five when a lot of kids' cliquey, group-forming instincts kick in, I imagine racism might arise.

I've been subscribing to Sky since Season 4 so that I can watch GoT legitimately, but during Seasons 1-3 I worked abroad and so watched pirated U.S. streams of them. Official UK broadcasts don't have the 'previously on' segments, but I remember them being exactly as obnoxious as you describe.

That line, and the number of critics 'best of the year lists' that sprang up around Game of Thrones in its early seasons always irritated me a bit: all fantasy is human stories in a fantasy world.

(Emilia Clarke, Kit Harrington, Lena Headey etc. stand in their rags, looking forlorn. Nikolaj Coster-Waldau nudges Peter Dinklage forward)

In a 'fiction escaping into the real world' twist, the hacker's name - R. Bolton.

Look, people should be able to make hyperbolic statements of disgust without others getting on their high horse and suggesting the first speaker sympathises with fascist ideology - that kind of shit, which has fucking infected our discourse, is done entirely to so that the person throwing the accusation around can…

My hot take: these people are the absolute scum of the Earth. It's not the worst crime, but in a Venn diagram that illustrated groundless spite, entitlement, and a pathetic, self-conscious desire to be feared, you'd find, in the crossing, those who blackmail people with information they've hacked.

It's not just Cersei though (but I do think his loyalty to his twin/girlfriend, regardless of how insane she is, would be motivation enough) - it's a foreign invader with an army of berserkers at her back and three nuclear bombs, whose father was famously evil and insane. Jaime loves Cersei, but he's also a person…

Then when Jaime went running after her, with her back turned to him (pretty cowardly to attack when someone's back is turned, but I guess that's his m.o.)

I totally felt what the writers wanted. Cersei's nuts and malicious, but she's lost all her children, all her security, and been humiliated in pretty much every way a human can be; Jaime's a decent man who's tragically tied to a sinking ship; Qyburn's using practical intelligence to try and fight supernatural threats;…

Rather than worry about how the Roadhouse could feasibly book these bands, I just assume that, in the Twin Peaks universe, the Nine Inch Nails, the Chromatics, et al are just small bands.

Maybe that kid was wearing new clothes; maybe the mum had dressed her kid smartly for a specific purpose; maybe the mum was having a shit day and didn't need an extra thing to worry about; maybe that mum facilitates and encourages her child's creative and imaginative impulses in every other way but draws the line at…

I saw the headline, and, assuming someone was going to beat me to it, read absolutely the barest minimum of the article I had to before vomiting the reference out. I can't hear the word 'Charlemagne' without saying some version of that line.

"I shuddenly remembered my Charlemagne: 'Fuck off trannies.'"

What does a better-acted Gordon Cole look like in your head?

I've always wondered how much of Twin Peaks's plot and backstory came from them seeing what they could do with the atmospheric weirdness they'd previously come up with.

I meant that it's repeated and taken as a given, despite the fact it's not the case.

One scene in TPM, one very short scene in AOTC, then Palpatine's Empire speech and fight with Yoda in ROTS. The prequels have plenty of issues, but the 'politics/trade negotiations' thing is just a meme people don't think about.

Ready Player One already shows Spielberg is a hack, he might as well put it to good use…