You mean Sandie and Mandie?

What difference does that make? Characters in fiction don't hear their themes because they don't have to: they already embody those feelings. But when familiar music punctures their fourth wall, what an odd resonance it must have for them.

Not that I didn't love it, but WP never spared the time for the subtle whimsy of TP. They even got Melissa Leo so they could turn it up to 11 on the instant!

A lot of shows were trying to make the new Twin Peaks in the 1990s.

Bobby's mom is 76. If you look at how far back she and Horne's careers go on imdb, it's wild. And Harry Dean Stanton is 91.

Well, there's the ginger connection I guess. I hadn't realized he was Banshee in X-men.

All that changes is the dime in the jukebox.

Fair.

It's more like a sequel to his Batman run, which was excellent, so I'm happy the least it has to do with the original trade. He's able to pull from all aspects and eras of bat-tinuity!

Cool Rider, as a song, doesn't end. It just fades away, with Pfeiffer dancing herself off stage. But I'm cool with Let's Bowl and Reproduction, okay fine. And really Tab Hunter and Eve Arden and Connie Stevens steal all their scenes.

Worst. Idea. Ever.

Just wait, is my guess.

We still don't really know what Dougie was like before. Maybe Good Coop is an upgrade, even in this state, and she's mostly pleased.

I have a firm belief.

The last two make absolute sense for the characters, and Lynch pulled out all the stops to make those scenes visually interesting. Sarah's house full of mirrors and reflection and predators eating, Nadine's blog-fandom nirvana complete with milkshake and ergonomic chair! I was riveted by both, it seemed to be a very…

Despite the reviewer's tone, I don't find Janey-E to be one of Lynch's harridan wives either. She's got a lot on her plate and she's trying to make it all work for her family.

Or flirt with Albert.

They're the impatient kind of mafiosi.

You need an excuse to enjoy surrealism?

Yikes.