Well, thanks, tho I'm unsure the 'sum' of all the disparate connecting amounts to much, other than a nod of respect to Nabokov from Esmail. While Darlene kinda has a 'lolita' vibe, Dom is a stretch. Perhaps there's a gender thing in terms of the three main female characters needing to navigate varying masculine…

For what its worth, throughout the episode's beginning, with its realistic coding via Elliot, the name 'Dolores Haze' was always present, which is an allusion to Nabokov's great novel, 'Lolita'. Dolores Haze was, I believe, the real name of 'Loleet-a', the latter the preferred, more poetic, name applied by Humbert…

sorry, maybe I was being unclear above, their movie and its content, etc was just one of many small brilliant elements that one can expand upon, all while being not something hugely important to the overall—I just saying how the uncertainty of the movie being a legit movie, etc, was a microcosm of our involvement in…

yes, very Kubrick

was there a Holy Fuck song in the last episode? I thought I heard one, but forgot to look it up.

I miss that Wellick guy, he was the Id uncontained last season and you can feel the vacancy within this second one where the main thrust centers around containing all things Id or Ego. Its not that this vacancy is a fault of the show but rather a vacuum an extraordinary show is willing to bet its viewers will be able…

Overall the 'movie' in the beginning was a great use of the 'uncanny', that eerie inbetweeness or uncertainty regarding something that seems real, but isn't, but maybe is, a perfect way to show the 'beginning' of the mr robot narrative, which in itself thrives on the 'uncanny,' that liminal situatedness on a threshold…

I think that's a good call. The 'movie' began with a setting of those two sitting and seemingly having a proper sort of meal which is similar to the Bunuel film, where the 'bourgeoisie' are always trying to sit down and have a 'proper' meal, only to be continually interrupted. I'm still trying to figure out what was…

yes, thanks for the reply, until the end I was afraid there were going to be two competing 'black friends,' but Ray is clearly shady. also saw above, probably in earlier time than my post, dammit ;), that the H.I. dream sequence from Raising Arizona was a well-shared thought, which is actually cool to know i'm not…

For Coen bros fans, Elliot's dream sequence was like an interesting 21st century version of the end of 'Raising Arizona,' where Nicolas Cage dreams as well in a voiceover envisioning future holiday dinners with future kids and grandkids, etc. For that Coen bros film to be a reference would seem surprising, considering…

Good to not feel alone in this. Just with the Tom Cruise thing, the show is good, but that surreal absurdity needs to be grounded with the humanity of the main characters, which no matter how batshit they are, can be shown (see Breaking Bad, Dexter, etc) only by them actually interacting and caring about each other's…

Shows like this hinge on their content supporting the crazy surface that is form and style, and this show's content is beginning to wear really thin. It's slow, yes, and not in a good way, as in other shows like breaking bad or bloodline, etc. Wheels are spinning and giving off more and more the raised-on-Tarentino…

He looked like the mug shot following his DUI last year. The drink catches up with you.

Nice. Kevin/Fredo and John on a little boat on a lake. 'I knew it was you Kevin. I knew it was you.' Sally waking up to a gift from Gilbert in the form of a decapitated sea horse, you know, the bigger kind.

I agree. It's great to see all of them have a show where they each seem to be making each other better. You can tell the actors/actresses know they're situated in an unique show, aka the 10% of good shows that is the tip of a giant iceberg of crap.

While the writer's views re Kevin's dramatic decision are fair, the whole plot turn's awkwardness lies more in the victim rather than perpetrator. That is, Marco's sudden 180 in terms of hating the Rayburns was rushed so as to give Kevin some push towards doing what he did. I'm not saying Marco's final views regarding…

As 'it's not unreasonable' for an adult father to not punish his son for life, using him as the emotional scapegoat for all the family's dysfunction. The 'choice' theory seems way too much a rationalization of what the father has always done to Danny throughout the years, which is clearly what the Rayburns do much of…

Really great review, especially the women being Greek choruses and the analysis of the show's pivotal scene. The Meg/Marco thing, however, eh…I guess I'll wait on that one.

I was just thinking that about Chloe earlier, wrote in the last comment of last show how season 3 would hopefully extend her character further, one, b/c the character doesn't take any shit, and two, Chloe is awesome.

me too; I wrote 90 percent act like that 'at times' and so meant not necessarily to their parents or grandma, but others in general. no, i'd be in a wheelchair if I had talked like that; the funny thing about that scene, now that I think about it, was that John pretty much heard and saw the whole deal between his mom…