Yes, great job decrying labels by falling back into the most cliche one of all - FOOTBALL SHITHEAD JOCK.

The thing is… most people really don't give a shit if it's "true comedy." It's entertaining and it makes people laugh fairly often. More importantly, unlike SNL, you don't have to sit through 80% shit to get something remotely amusing.

Yes, I think LF didn't want Brienne ruining his secret plan with Sansa by blabbing about where they are (and that it's actually her).

Just like in the books! Oh wait, I'm thinking of Darkstar.

I'm sure you're not the only person annoyed, but I know that I really couldn't care less about it.

Yes, that knowing look seemed very significant to me as well.

The entire Blackfyre theory/plot is nonsense to me even as a book reader - there's no way it would play in the show. It's hard enough making it clear who the Martells are.

This is why I'm really curious as to how many specifics D&D actually have as to the series' endgame. In some of the more obsessive ASOIAF circles, the fact that Jaqen is at the Citadel is A REALLY BIG DEAL (and some people even think that the Maesters are part of some gigantic conspiracy to lead everyone in Westeros…

There's no way we see Oldtown. Too much exposition and budget required for what probably isn't going be that important.

That's actually an interesting theory I hadn't considered. I just assumed they'd go the warg route since they've established that so solidly.

Yeah, I was also confused by the fact that she made a huge deal of giving the Harpy suspect a trial but she just executed the poor bald guy without any such thing. Maybe it was because he confessed? Still isn't going to look right to the citizenry (obviously).

As someone else mentioned, that information would be based on the books, so it's not really relevant here as the rules may be different.

It's also possible that her magic is real but that R'hllor doesn't exist.

AFFC is really great. ADWD is where things really start to get out of hand.

I think the hype kind of ruined It Follows for me. I'm sure I'll back come around on it eventually.

The camcorder scene in The Descent scared the absolute shit out of me the first time I saw it.

Hearing people say that the plot was hard to follow in Inherent Vice is so maddening - that's pretty much the whole fucking point of most of Pynchon's work, and PTA captured that feeling perfectly.

Holy Motors is kind of the inverse of UC - whereas there's lots going on in UC and everything is related somehow, Holy Motors is just full-on creativity. There's very little need to tie all of its vignettes together to truly enjoy it (though certainly possible and enjoyable to do so).

I've seen people suggest that by opening the season with the framing device of Saul/Jimmy looking back on his early days after the events of BB, the showrunners are leaving open the possibility that we might return to a post-BB timeline at the end of the show.

If every horror movie was as creative and well-directed (not to mention impeccably performed) as The Babadook, I'd be happy, even if the metaphor is on the nose.