THANK YOU SIR, MAY I PLEASE HAVE ANOTHER.

I'm very hit-and-miss with LaBute. A handful of his plays (Mercy Seat, the monologues in Bash, Fat Pig, Autobahn, In A Dark Dark House) are all quite decent and feature some excruciating complexities that intrigue me (also, some of the writing and characterizations in those are pretty damn good). But, often times, his…

I wouldn't say hate, but the rest of Destroyer all came across as generic indie stuff that made absolutely no impression.

Oh god, I hated that film.

I understand all those choices except Day After Tomorrow.

Good call on Bay/Rock.

I feel that with Nugent, but replace "Stranglehold" with "Journey to the Center of the Mind."

They were alright, but didn't do much for me.

Polanski made a lot of great stuff before the….unpleasantness. Afterwords? The only one that sticks out to me as stellar was The Ghost Writer.

Damon Lindelof, The Leftovers
Aaron Sorkin, A Few Good Men
Neil LaBute, In The Company of Men
Jean-Luc Godard, Band of Outsiders
Eva Cassidy, Live at Blues Alley
Destroyer, Kaputt
Journey, Raised on Radio

The microphone shot is direct homage to the post-prologue opening of the Coens A Serious Man. I think Hawley is just having fun paying homage (much like later in the episode when Ray parks in a spot with an adjacent car taking up multiple spots, a la a shot/moment in the film Fargo).

My guess as well.

Ironically The Kels' personal political views!

I read this entire article in The Kels' voice. So…good…job?

(crying over spilled milk)

YOU BEAT ME TO MY COMMENT

There's a lack of O'Doherty in everyday life and it saddens me.

This won't go Westworld at all.

Any man who would cheat on Jane Seymour isn't worthy of this world.

That's the good/bad track record with Dunham and this show — it's irritating in a good (well-written, realistic) way in many moments, but often never seems to know what it's trying to say and thus becomes irritating in a bad way in terms of overarching purpose.