Yeah, many of the lodge scenes and empty vistas with one or two stiffly-posed actors remind me of Marienbad. Also the hints of violent sexuality which play with your sense of time and narrative.

You could look at this issue in reverse: horrible, mendacious, sadistic, weak, corruptible, cowardly white men far outnumber negative stereotypes of any other ethnicity/gender.

leitmotif

Leimotive is a fragment of a tune; this was nearly an entire cut, which is what was odd about it.

Is there anything less punk than a spotify playlist :(

Sigh! Yet another superficial, redundant essay .. the truth lies beneath (in the commentariat)

That was the only good one! The others were two-note snooze fests.

Now you just gave me the image of Gillian Anderson in a Lynch universe … chilling!

OK, but Parsifal is up there.

The pie must be earned, like the musical underscore.

I loved that effect – it was so iconic! I really can't imagine anything else that would have worked better.

Wheres is LvB's Appassionata featured?

Varga likely adheres to the formula "the most effective lie has a grain of truth."

I just realized via your comment – Ray got "framed" alright.

Good catch!

Read the Smithsonian article linked above - there were no sandwiches in Sarajevo.

see discusion above (below?)

Yeah, I've been wondering if that is going to come into play – and the huge Stalin poster, as if we needed any proof of Varga's suspect morality.

It also suggests that Varga isn't omniscient, by which I mean not willing to do the real work of tracking someone's analog past (as opposed to prior villains).

Yes – previously Emmit tiptoed up to the line that he crossed by calling Varga.