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The first, belonging to British Petroleum, includes documentation of a promotional film aborted prior to the nationalisation of Irans oil in 1951; the second is the 2. billion cache of artworks acquired in the mid-1970s but banished to the basement of Tehrans purpose-built Museum of Contemporary Art following the Islamic Revolution of 1979. In finally realising the former and exposing the absence of the latter, Tabatabai and Afrassiabi stage a recontextualisation that promises insights into Irans troubled path to modernity. Of Seeps two central videos, one is a road movie in search of the eponymous black stuff and loosely follows in BPs footsteps, the other a more poetic musing set to a reading of the original filmmakers conclusion that, devoid of visuality, the quest for these seeps was unfilmable. Western oil exploitation is a soft and politically loaded target. The obvious reading here is the industrys disregard for the environment, one the shows curator, Soledad Gutirrez, eagerly encourages. Yet far from being another Deepwater Horizon, oil seepage is, I discover, a natural phenomenon, known and exploited for millennia. Having worked up an unjustified lather against BP, I feel duped: this is less Newsweek than National Geographic. Among other artefacts tenuously grafted to the installation is an incomplete list of Tehrans absent holdings of Western art and a model of the museums spaces. But although the 1,500 works are said to have been unseen for 33 years, a (necessarily limited) showing of them was arranged for the Revolutions 20th anniversary, and it is possible to view at least a selection by appointment. Having done so in 2002, I can attest that the sequestration of this coffee-table panorama of blue-chip masters is no great tragedy: far more is lost to private collections. And on the plus side, the museums vacated walls provide exhibiting opportunities for younger Iranian artists otherwise denied a voice. Effective journalism is direct and unambiguous; art, one hopes, leaves the reading open.

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But the idea of him becoming the antagonist in the final chapters makes sense. I want Jon and Arya to live, but they will be in the thick of the fighting and in more danger. Either Jon was brought back from the dead in order to defeat the NK, at which time is purpose is done - OR - he was brought back to fulfill the prophecy and rule the 7K for a reign of peace and prosperity. I mean, A Dream of Spring is obviously an ending of hope. I like the notion of Jon's resurrection brought about by magic of the NK instead of the LoL. I love Bran and find his character the most tragic of all, so I think he's somewhat doomed and is likely to be a sacrifice in the fight for the Dawn. Its either him or Jon that will face off with the NK. I do want to see her develop closer bonds to her kin in the final season. I want to see her support Jon even when she finds out he's Targaryen. I think they've had an interesting story arc, being brought back together thinking they're the only family each has left, even though they were never close. The tense relationship worked, but they have also learned to respect each other. I think Arya killing Cersei with someone else's face would be cheesy, but that's just me. And I agree that I want to see the Starks present a united front, even though under normal circumstances in Westeros, Sansa would be scheming to get rid of the bastard usurper and claim her birthright as Queeninthenorth, but the army of the dead is coming.

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Caspian explains that Narnia has been in peace for three years but before he took his throne back, his uncle tried to kill the seven lords of Telmar, who were the closest and most loyal friends of his father. They fled to The Lone Island and no one has ever heard anything about them. Now Caspian is seeking out the lords of Telmar with his Captain Drinian, the talking mouse Reepicheep and his loyal men. Soon, they discover that an evil form of green mist is threatening Narnia and the siblings and their cousin join Caspian in a quest to retrieve the seven swords of the seven lords of. This edition follows the original numbering scheme. More recent publishers have re-numbered the volumes so that the books are ordered chronologically. If you spent a hundred years in Narnia, you would still come back to our world at the very same hour of the very same day on which you left. And then, if you went back to Narnia after spending a week here, you might find that a thousand Narnian years had passed, or only a day, or no time at all. Descended from shipwrecked pirates in the South Sea, they came to Telmar even long before the 100-year reign of the White Witch over Narnia. It is not clear exactly when this group of shipwrecked pirates that were to become the Telmarines came to Telmar. It could be centuries ago but it is sure that a good amount of time must have passed because on this island 'the race of those pirates who first found it has died out, and it is without inhabitants'. So, while in our world many decades or even centuries have passed, the advent of the Telmarines certainly does not date tens or hundreds of thousands of years back in the Narnian world, which one would expect if the same relation of passing of time applied to the pirates than to the Pevensie kids. When Eustace and Jill get to Narnia, Eustace's previous adventure on the Dawn Treader has happened just one school term earlier but in Narnia seventy years have passed.

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