I hope our resident Hungarian (Aquila89) let's us in on what Amia said in the church. I believe one of her lines ended with the word "now" (the word Louie heard from Amia when he first asked her out).

Oh that's what that was (or wasn't, as the case may be.) I thought that was an interesting choice in sound editing, one that kind of worked in some strange way.

I think that in that moment, Amia, feeling guilt and/or doubt heard church bells and just followed the sound to where it took her, not really worrying what kind of church it was.

Louie is also clearly wracking his brain trying to interpret the cues of women, which is a minefield. It reminds me of one of his bits from his stand up:

That didn't occur to me at the time, but your points are spot on. It shows Louie's actions, while generally horrifying, didn't just come out of nowhere. Louie and Pamela are in very low emotional places now, and they are playing these dangerous cat and mouse sexual games. This cannot end well.

It's too bad most of the discussion is revolving around the second to last scene of the second episode as the conclusion of the "Elevator" arc (i.e. Louie and Amia) was so damned good. Louie and Amia at the beginning, facing opposite directions, still together, but confused as to what to do or say. Amia, possibly…

He's so black he urinates motor oil.

It was so dark, right down to Pamela chiding Louie for not being able to rape correctly. Even when he's being a scary aggressor, Pamela still cuts him down.

Well laid out. I was thinking on much the same lines as I was watching. The parallels were there (right down to discovering a sleeping woman.)

I always wonder how much of background stuff like that is intentional or just what happened to be there when they were shooting.

"You know, I not entirely sure what your name is, but you are a classic idiot." Genius!

Oh my word. Here's where the back-to-back episode thing may not be the best. I would've loved to have the final moment of Louie and Amia and the Waiter (in addition to Louie being the hero to his ex) sit for a week. I was crying the moment was so good; the halting, not quite precise translations just adding to the…

One of my all time favorite medical films. Troy McClure was great in it.

Yeah, like Karl in Sling Blade and Forrest in Forrest Gump, Raymond in Rain Man became a pop culture phenomenon for all the wrong reasons. It wasn't the characters themselves that were popular, merely the ticks in their performances that, as usual, reduced them to one note jokes. Although in the case of Forrest Gump I…

Ha! I would've thought Stephen Colbert on "The Colbert Report" would've been the way to go, but you somehow outdid that!

I always loved The Kids in the Hall send-up of awards-baiting roles actors play, and the awards baiting scenes from the films themselves:

Where's Nat X when you need him?

We're rapidly approaching the 20th anniversary of OJ.

I know he won an Oscar and all, but I was never enamored with Dustin Hoffman's performance in Rain Man, and unfortunately, that performance seems to be the gold standard of how to play someone with autism.

I think another thing that hurt the perception of Sling Blade over time was all the imitations and parodies of the central character (Karl) that followed in the wake of its success, taking a character that Thorton played straight-up and turning it into a one-note joke, a coloring of the character that's hard to get…