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Late-1800s. Frederick Winterbourne is holidaying in Switzerland when he meets the beautiful, vivacious Daisy Miller. He is immediately smitten with her but while she enjoys his company, the feeling isn't mutual. More tellingly, Mr Winterbourne's mother wholeheartedly disapproves of Ms Miller.

A film that Quentin Tarantino mentioned very favourably in his book 'Cinema Speculation', leading to me watching it. He was very enamoured by the quick-fire dialogue delivery and the humour therein.

The quick-fire dialogue, especially when delivered by Cybill Shepherd as Daisy, is the highlight of the film and does make what would otherwise have been a rather dull, dry affair more dynamic. However, it is also quite irritating in the enormous doses we're exposed to in this film. I kept thinking "Geez, let somebody else get a word in!". The other downside is that it's easy to miss some of the humour and key moments as much of the dialogue hardly sinks in.

To add to the irritation there's Randolph, Daisy's young brother. He appears in the first scene and is immediately very annoying. I was hoping he was just going to be there for the initial scene, as a way to link Daisy to Winterbourne, but no such luck.

The plot itself is one that I would usually avoid, involving relationship politics and machinations set against Victorian era mores. The humour and pace elevate it to something above that but the aforementioned annoyances then negate the positives.

The first three seasons of Stranger Things were brilliant - original and intriguing plot, engaging characters, the 80s vibe. Season 4 felt a bit bloated, like it was padded to draw it out. It finished well though but padding in the earlier episodes made me think that the writers were starting to run out of ideas and the series had run its course.

Apparently not. More than three years later we now have Season 4. Maybe it's because of those three years (and the not-very-helpful recap) but I don't feel as engaged in the story and the characters' lives as I previously was.

The first half of this episode doesn't help much either: a mix of trite where-are-they-now scene settings and cryptic horror scenes that had me zoning out. It gets better, which gives me hope for the remainder of the season, but not to the extent that I care how things progress and can't wait for the next episode.

Jemaine and Bret are Flight of the Conchords, a New Zealand folk-comedy band. They've moved to New York to further their careers but the going is very tough. "Aiding" them in their endeavours is their manager, Murray Hewitt, Deputy Cultural Attache at the New Zealand Consulate.

A one-of-a-kind comedy series. Just about everything about this is original and not likely to be replicated: the folksiness, the clever, self-deprecating humour, the weird but ridiculously creative musical interludes, the general understatedness of proceedings. These all are strung around episode-long plots that are essentially about everyday life and problems.

Quite unique and something to behold.