Yep, Tom Courtenay is an essential YLT song, and the video about opening for the Beatles is hilarious.

Yep, Tom Courtenay is an essential YLT song, and the video about opening for the Beatles is hilarious.

The recommendations are pretty much spot-on. "I Can Hear the Heart Beating As One" has great songs that display the spectrum/range of their styles, but my starting point was Fakebook. While the latter is largely a covers album and less diverse, it is excellent, and has re-workings of two wonderful songs of their own:…

The recommendations are pretty much spot-on. "I Can Hear the Heart Beating As One" has great songs that display the spectrum/range of their styles, but my starting point was Fakebook. While the latter is largely a covers album and less diverse, it is excellent, and has re-workings of two wonderful songs of their own:…

shit, Red, I might start going to mass again just to sit in the same pew and say et cum spiritu tuo

shit, Red, I might start going to mass again just to sit in the same pew and say et cum spiritu tuo

Davison was never my favorite Doctor, but he was good in the role. With a better producer/script writer team, he would be better remembered. They needed to achieve the fit between his stories and his character (the "reckless innocent"), so that both would work simultaneously. There are a few moments in the show where…

Things are looking good; scan the next six stories

Things are looking good; scan the next six stories

The thing about Lytton, is he does get his hands crushed by Cybermen (graphic enough to draw criticism), who also try to "upgrade" him (to borrow, anachronistically, an expression from the new series). However, I think Mr. Bahn is a tad bit unfair when he says Saward passes Lytton off as a hero after never doing…

The thing about Lytton, is he does get his hands crushed by Cybermen (graphic enough to draw criticism), who also try to "upgrade" him (to borrow, anachronistically, an expression from the new series). However, I think Mr. Bahn is a tad bit unfair when he says Saward passes Lytton off as a hero after never doing…

"Well at least there wasn't the RTD deus ex machina in which the power of LOVE saves the day from floating space balls."

That was a chilling revelation of how out of whack their priorities were (disrespecting the Bing being perceived as far more foul than murdering a young pregnant woman), but also how Tony has a flicker of conscience to see it the other way—yet he only realizes it belatedly and always extinguishes rather than nurtures…

What a weird cut from Ralphie's laughter to the three couples (Tony & Carmela, Sil & his wife, Ralph & Rosalie) laughing over dinner.

Tracee was never aware of the danger she was in, nor did she choose it for so long or in so conscious and definitive way as Adriana did—so maybe that makes her death even more troubling?

trust a guy who recommends Madame Bovary to violate the purity of sport and competition

I didn't take it as AJ needing a moment to think; if I recall the camera lingers for a moment, allowing AJ to make a subtle move, suggesting he looked at Noah and noticed the skin tone—then cracked a smile and made the remark about knowing what his father said.

What struck me is  Carmela's fear that she will become the scapegoat in therapy echoes Livia's paranoia. In other ways they are different characters—at one point Melfo points out that Tony got lucky and used good judgment in marrying Carmela, almost miraculously given the rest of his life and the other formative women…

I think this is right, Rowan Kaiser. Melfo says "no" twice in that scene: no to unleashing Tony on her attacker, but no to letting someone else (a behaviorist) hold the leash, too. TVDW correctly points out that she keeps seeing him in therapy because it makes her feel safe (her discussions with her own therapist…

I agree, Kangaroo, that scene is painful. Just excruciating. And yet, it has that tinge of typical David Chase flair. In the midst of an awful and inhumane scene, when Vito is murdered and sodomized, it is overseen by Phil Leotardo—who in a moment of absurd and grotesque humor slides back the door* and "comes out of…