“I’m a working man, so I’m not snobby. My tastes are not champagne tastes.”

My favorite Guttenberg appearance is as “himself” being an unsuspecting Party Down client… and the gang all hangs at Steve’s place and later act out Roman’s sci-fi script… (well, that and his Can’t Stop the Music role, of course!)

There’s a pretty famous bible named after him, what’d you expect?

I like how Steve refers to himself as a working man, and in the next breath is talking about buying luxury cars for people as gifts.

Could God bowl a split so difficult even he couldn’t manage to score a spare?

Alright, I’ve been dying to bring this up here since I spent way too long researching this yesterday after my rewatch of the series.

And like, the books were fake. Which is a funny joke at first, but then you realize that he missed the whole point of why someone would want a library to begin with.

Diane opting out of the discussion of the house was a big red flag about committed she feels to the relationship.

Just *reading* about that ending makes me tear up. What a knockout ending!

I guess, but Bladerunner owes a great deal more to the Metropolis. Synthetic humanoids, the distinct high and low class structure, and the Babel-like towers of Tyrell corp that dominate the city scape...they all feel pretty well cribbed from Fritz Lang’s film.

Clayton, for god’s sake do not show Eraserhead to the future mom either!

I rewatched this episode today and what struck me was the shifting Sugarman/Horseman family portraits. Child Beatrice and child Bojack are positioned next to and somewhat facing each other as one phases into the other. She looks “faraway sad,” while he forces an unconvincing smile. They’re kindred spirits here, two…

If only we all had such an awful backup plan just waiting around for us.

My girlfriend, whose mom is pretty similar to Beatrice, saw that moment as less “Bojack being kind to his mother in her final days,” and more “Bojack caving in and performing for his mother thus fulfilling the role she has assigned him.” It’s an interesting take.

Amidst Butterscotch’s manifest failings, I like the implication that he is, in his way, sincere about the vulnerable things: Bea is withering when she asks Henrietta if Butterscotch said her hair reminded him of his mother’s, but his mother probably did have a diamond like Bea, because so does Hollyhock.

Frankly, this episode left me terrified that some day I might end up like that, stuck reliving every shitty moment in my life in some half-remembered fugue state. I wonder if that’s really what dementia is like.

The screaming and crying from small Bea when her doll was thrown into the fire was too much (,man!) for me.

The season had been teasing a grander view at Bea’s backstory for a while, and it was genuinely moving to see it all play out here, albeit through the warped lens of her addled mind. By the end of the episode, I felt like I understood the decisions Bea had made, the perfectly relatable reasons she’d made the mistakes…

I think BAR is criminally underrated (thus fulfilling my purpose as mentioned in the article). Pitt’s idiotic performance, Rasche and Simmons showing up every now and then as audience surrogates, Malkovich’s profane narcissist, Clooney freaking out after shooting Pitt (I laughed hard at that as well) because Pitt had…

“Say, any of you boys smithies? Or, if not smithies per se, were you otherwise trained in the metallurgic arts before straitened circumstances forced you into a life of aimless wanderin’?”