That part was more than earned with all the forward momentum that preceded it. The more the scene went on the more I was smiling at it. Only for the mood to change immediately once Jean-Michel started talking about "straight-A" 15-year-old prostitutes on the phone. It was all deliberate and very effective.

Well that wasn't unwarranted given what's happened with Anderson IRL.

Have you seen Bug? Judd is incredible in that movie.

I love the fact that Lynch took such an intense actor and cast him as this corporate/office worker who's quietly mad at Dougie/Cooper for that "lying" accusation but can't do anything about it. Sizemore still has that crazy in his eyes from his '90s character roles and you just know he wishes he could beat the shit…

Rewatching that part I actually got a feeling that she was lightly mocking him - I could imagine a scenario where Dougie had come on to her (in his awkward childlike doofus way), she declined him, and then used the moment when the only thing he needed was to piss to get back at him a little via the "Maybe I'll let you…

Pulp is still #1 for me but JB has gone from lower half of QT's filmography to being a close second. It might be his most rewatchable movie. Tense and emotional whenever it's needed but completely unforced.

EJECTO SEATO CUZ

I think the critical reception was generally admiring but nothing out of this world. And it got basically no awards attention apart from the performances (and Pam Grier was still snubbed of an Oscar nod). But then, when you have to do a follow-up to something like Pulp Fiction, there's probably next to no chance of it…

I mean, he is the only one who overpowers The Bride when she comes for him.

Bobby's breakdown upon seeing Laura's photo also has to be a lot more affecting if you've seen their scene together in The Missing Pieces.

Maybe it's just my love for Naomi Watts talking but I didn't see Janey-E as nagging even as she first appeared. Her exasperation with Dougie was fully understandable and not overdone, and to me she never came across as anything other than strong-willed, patient, and protective of her family.

Naomi Watts' hilariously blunt "Okay Dougie you're acting WEIRD AS SHIT" last week.

The little nod he gives right after that line is such a perfect touch. He really, really wants to believe his own words and retain some control of the situation even as he's standing face to face with a Lynchian nightmare personified.

I love Lynch as much as anyone but I think treating any artist as a sacred cow inherently above criticism ultimately does more harm than good.

Kubrick was a big fan of Eraserhead and showed it to the crew of The Shining before filming to get them to understand the vibe and mood he was going for.

I always just took them for an effective symbol of Diane's anxiety and depression finally becoming unbearable for her and driving her to suicide. Everything that happened to her, and everything she's done, catching up to her. And if she did indeed meet a friendly old couple upon her first arrival in Hollywood who…

He manufactured him for a specific purpose.

We don't know any details but from the way Bobby was talking about it, it seemed like the entire thing was pretty clear-cut (beyond the fire possibly not being accidental). He probably would have mentioned it if his father's body ended up being unrecognizable or there was something else out of the ordinary.

I want more Jane Adams in this. So far easily the most engaging character not played by MacLachlan, both professional and fun; I think her and classic Cooper would have really gotten along. Her sarcastic autopsy report was gold.

Bobby says in Part 4 that his father died in a fire 25 years earlier, one day after he'd been visited by "Cooper" (actually the Doppelcooper). So I don't see how it could have been his body in Ruth Davenport's bed. My current guess is that Doppelcooper somehow got Briggs' fingerprints on the day he visited him, then…