Here’s a wonderful cover of it...

Side note: the Chicago-based actor who plays Nat’s obstetrician, Keith Kupferer, is the lead in the extraordinary movie Ghostlight, and everyone should absolutely see it.

The single line from this movie that gets me every time:

I should have been clearer. I think a lot of Academy voters chose Kingsley’s performance in Gandhi over Paul Newman’s in The Verdict because “this guy won’t have another role of note again so let’s give it to him for this.” Like Abraham and Nyongo. Of course they were SO WRONG.

A big reason I love her work (and career) is that she transcended the “Role of a Lifetime Oscar Winner Who We’ll Never Hear From Again” - just like so many people felt about F. Murray Abraham and Ben Kingsley. It’s such a joy to watch her work- and now I’d love to see her in a big comedy.

I would have thought the SCTV connection between Short and Levy would be more of an “of course” thing.

And in the “There Are No Coincidences” Department - “The Odessa File” is a novel by Frederick Forsyth centered on those very ratlines, and it was made into a movie starring, yes, Jon Voight.

What a lovely article. And the revelation of what was in the peanut can, and why it was so important? It was so unexpected, and so beautiful, and I totally lost it.

Thanks. I’ll come back to this in eight weeks to see how that affected the conclusion.

I have no suggestions, but this news makes me deliriously happy.

I’m assuming that if you’ve read the book and/or seen the movie, the conclusion is not going to be a surprise.

The wide shot of the fight involving The Major reminded me of “Barry” - which reminded me of both Blake Edwards and Jacques Tati.  I actually thought it was funny until the Captain actually went through with it.

Forsyth is one of my absolute favorites. Comfort and Joy was actually streaming somewhere a while ago (Hoopla? Kanopy?) and I was reminded of how much I loved his sensibility (and Knopfler’s “Love Over Gold”-adapted score).

Sometimes I wonder why musicians like Knopfler stop scoring films (He also did Comfort and Joy, Last Exit To Brooklyn, and the exquisite Cal). Were they not asked any more? Did they say “thanks but no thanks”? Why didn’t Joe Jackson score anything after his ambitious Tucker: The Man And His Dream?

Mark Knopfler, for crying out loud! The Princess Bride! Local Hero!

I was going to say that, after this episode, there should always be an exclamation point.

I often wonder, when there are spontaneous moments, what dress rehearsal was like. Heidi certainly must have seen that Butthead makeup a couple of hours earlier, and Che certainly had to have full knowledge of the Caitlin Clark bit.

Dismukes was especially spectacular here.  I got a real I Think You Should Leave vibe from this escalating nonsense.

Does “the Dual actress” have a name?

I’m amazed at how much Cosmo Jarvis sounds like Richard Burton.