Thanks for scratching that itch, MMCTTP. It really looks a lot like the interior of the  original, Albert Kahn-designed GM building in Detroit, but I knew they couldn't have shot it there.

Oh, that sounds amazing to me - the next logical step after using Bow Wow Wow (non-diegetically) in Marie Antoinette. I'm trying to think of another film that deliberately places anachronistic music in the reality of the scene. Maybe Coppola has invented something?

Callback to Roger's description of his father fighting in the trenches of WWI, killing the enemy with a bayonet?

Emphatic "Yes" to the way the other patrons at Holsten's are archetypes of healthier, more normal versions of characters we've seen throughout the series.

Emphatic "Yes" to the way the other patrons at Holsten's are archetypes of healthier, more normal versions of characters we've seen throughout the series.

A great moment: Tony, Sil and Bobby at Vesuvio's, talking about killing Phil. The music from "Raging Bull" plays softly in the background. Tony and Sil playfully throw punches at each other in slow motion.

A great moment: Tony, Sil and Bobby at Vesuvio's, talking about killing Phil. The music from "Raging Bull" plays softly in the background. Tony and Sil playfully throw punches at each other in slow motion.

Were we supposed to think that by some horrible coincidence the man Bobby killed might have been Janice's estranged son, Harpo, who was living in Montreal? The episode is dark enough to suggest that interpretation.

Were we supposed to think that by some horrible coincidence the man Bobby killed might have been Janice's estranged son, Harpo, who was living in Montreal? The episode is dark enough to suggest that interpretation.

Someone needs to do justice to this show by analyzing it within the context of its times, both economically and culturally. I'm constantly impressed by Dunham's talent for expressing things that are particular to this moment in history, while capturing the more universal experiences of people in their twenties trying…

She said "brown." Because in Marnie's super-white view of the world, Charlie's considered a person of color?

Absolutely, great observations. That first line on Hannah's computer about the value of friendships from college, ignored by Marnie who refuses to look under the bed for Hannah, she then grabs the candleholder on her way out the door. All ways of commenting on how fragile and ego-based female friendships can be.

This is just my personal hang-up, but I find that a little of Robyn Hitchcock’s idiosyncratic singing voice goes a long, long way. I would read his fearless and witty cultural ponderings for hours, though, if they’re all like this piece. Even that aside about his wife in the bath was a gem. Brilliant!

Maybe this episode was the test dream for a later episode's genuine dream that also cuts to black?

* This is Tony's first session with Melfi in at least a year. We aren't privy to the conversation they had in setting up the appointment, only the awkward restart of their therapeutic relationship. Melfi strikes me as being almost giddy when Tony explains his current dilemma with Adriana. Melfi actually believes…

"Why can't I get just one look,
Why can't I get just one look,
I guess it's got something to do with luck
I'm LUUUUUCKYYYYYY!"

The scene with Ray and Shoshanna at the subway station had what sounded like the theme from Brokeback Mountain playing underneath. Which made me think that one of them would be beaten to death and the other live a miserable, lonely existence.

Howdy, everybody who's reading these comments while watching HBO's rerun of The Sopranos in 2012/2013!

I really love how "I know you've seen a dick before" is such a great insult to both Carrie and himself.

I really love how "I know you've seen a dick before" is such a great insult to both Carrie and himself.