Completely agree. Honestly it's one of my very favorite albums and possibly my single favorite of the 2000's.

I'm okay with that, actually. I think this is a show that benefits from being concise — the virtually flawless six-episode first season bears that out (whereas I find the current ten-episode season just a touch below that in quality). Give the show a 13-episode season and you'd start to see some dead weight, I think.

I haven't seen a moment of this show yet, but the very first thing that popped into my head when I saw the image above was "Gordon Willis!" So I think I'll have to watch this now.

This was the first episode since the first two of this season that I found just a notch or two less than fantastic, mostly because it engages in a kind of overly-talky exposition-fest which the show has mostly avoided (to sublime effect) up to this point. I guess there's not much else in the way of options for…

Yeah, but couldn't you say the same about so many other plots throughout the show? For example, Claire's art school adventures don't have anything to do with dealing with death in life, or whatever (not really), yet they're still pivotal as a continuation of her evolution as a person. It feels more like the first two…

This was an intense episode, to say the very least. Most of all, I was astounded by the lengthy ending sequence with Trey and Daniel. It was brilliantly shot and edited and scored and acted, so as to make the viewer actually feel like they were high/tripping themselves — with the smudge-like dirt that seemed to cover…

Yeah, that's another thing. Joe seems like such a normal, *decent* guy (his weird sexual preferences aside), especially compared to people like Brenda and Nate… so it's doubly sad when he gets tossed aside. I like the way he handles Brenda's confession of her indiscretion, too; blunt, to the point, and with little…

Yeah, I watched that one recently and something about the obvious artificiality of the set/background in that scene (plus the creepy doll-girl[?]) feels uncannily like a dream.

I disagree completely. Although I personally prefer more subtle/less cartoonish fantasy/dream sequences (e.g. as seen on The Sopranos), I thought all of the ones you list were brilliantly absurd and hilarious, especially the surreal, almost Lynchian cartoon-farm one that ends with… well, I won't spoil it for anyone.…

Random thoughts on another strong episode:

Yeah, Popol Vuh rules. I'm more partial, though, to their soundtrack album for Heart of Glass — absolutely beautiful, ethereal stuff.

One of the more memorable episodes of this season, for sure. My favorite moments:

While this is certainly a very disturbing episode, I don't find it so awful as to be unwatchable. I think the situation with David and Jake is more sad than anything. Here you have a guy, David, who's so used to being taken advantage of, manipulated, of being the loving caretaker rather than the one taking action and…

I agree, though it's more the general lighter tone and relative lack of realism and subtlety that does it in for me (e.g. Tony killing a guy in public, broad daylight, by pulling a gun out of a fish head). Not that there's anything wrong with comedy, but I think the other seasons did a much better job of integrating…

"I know that if you think life's a vending machine where you put in virtue and take out happiness then you're going to be disappointed."

Very glad these reviews are continuing — they're some of the most insightful I've read for any TV series. Anyway, I'm looking forward to next summer, as I feel Season 5 is by far the show's strongest and most emotionally affecting season. But really, 4 isn't far behind. I can see why the general dislike; next week's…

Not a fan of this one. Pollack's a fine actor but a very workmanlike director and I don't think he uses the medium to anywhere near its full potential. It's all too formulaic, too campy, and the requisite love relationship with Dunaway is DOA. Just compare this to the formal daring and brilliance and wild but still…

As mentioned, there's something so immensely satisfying about seeing the carnival and Justin finally share the frame, especially after so much time; it truly feels like the exciting, hard-earned conclusion to a lengthy novel. It's really impressive, also, just how much things here tie seamlessly into the pilot…

As mentioned, there's something so immensely satisfying about seeing the carnival and Justin finally share the frame, especially after so much time; it truly feels like the exciting, hard-earned conclusion to a lengthy novel. It's really impressive, also, just how much things here tie seamlessly into the pilot…

It's amazing how much pathos is packed in the simple (even cliche'd) scene where Jonesy shows the rest that Hawkins isn't "just some kid from Milfay." This has been building since the first episode, and it's something most shows would toss aside after a handful of episodes at most. Also: the concluding shot of Justin…