It's a font that has very odd spacing — you can see the same thing in Silence of the Lambs (which conspicuously uses the same font treatment, the same year, but with jet-black-and-white rather that forest-green-and-orange). That may be part of what you're reacting to.

At first I misunderstood your comment — I thought you meant that they were more memorable for the good direction than for their casting — but now I realize you were talking more about who was responsible for what.

Come on; you've got to give him producer/director credit for casting! I think both Ridley and Pine are casting home-runs, on the big screen, in enormous existing franchises that, previously, had fumbled the casting of important characters (Hayden Christensen, Jake Lloyd, etc.).

Exactly! The music; the cinematography…it doesn't know it's a comedy!

1) Nobody discovers and casts young, attractive, basically-unknown actors — male and female — like David Lynch! (The closest runner-up might be J. J. Abrams, who found Daisy Ridley, Chris Pine and Evangeline Lilly.) It's like he — presumably with his long-time casting director — can look at dozens and dozens of…

You mean Tom Sizemore? He's been compared to Judd Nelson more than once.

The tone was all wrong. They didn't understand that the original works so brilliantly because underneath the supernatural effects and the comedic material is a realistically-toned movie, set in a reasonably faithful and straight-laced portrayal of the New York of the time.

Why do conservatives never understand compensatory measures?

Barry Lyndon

I used to be exactly the same, but now I'm not any more. It never stops hurting, but the other side of it (the euphoria etc.) has arrived.

What the hell are you talking about? You're crazy! He's the "Reverend Jim" of this show.

100% agree!

Very strange.

Not really. He just got very strange…but he's almost never bad.

I was convinced that was Josie Packard. And, yeah; the lever-pulling was right out of Eraserhead.

Nobody denies the brilliance of The Prisoner. it's just that it was met with such bafflement (as compared to the huge mainstream success of Twin Peaks) so it wasn't nearly as influential.

I know exactly what you mean. It's wonderful. It's the exact moment I realized they "had it" — that they were simultaneously going to revere the original show and propel everything forward to the present.

It's a fantasy; it's fine. (Like the way they all have white teeth.) Anyway the whole idea of a woman that thin and toned — especially one considered attractive by the men in the story — in the 18th Century is patently ridiculous. She's eye candy for us, watching now!

At World's End was my favorite of the titles.

1) Not a lumberjack or anything like that, since he disappeared. No idea beyond that.