I dunno if I get the Di Chirico comparison. Di Chirico is all clean lines and abuse of perspective, while Beksiski handles perspective well (esp. buildings, probably because he's an architect) and has a lot of mottled dirtiness. Moreover, Di Chirico thrives on too-clean and too-simple structures while Beksiski thrives…

If I'm not mistaking him for someone else, he began painting after he awoke from a strange and singularly arresting dream. He painted the things that he dreamed about, both in that life-changing dream and during ordinary sleep. He did not understand the strong sense of terror his work evoked in others and argued that…

As is (barely) touched on in the article, Beksinki disputed the idea that his work was terrifying. While not always evident, there's a strong (albiet bittersweet) strand of love-in-terrible-places that runs through his work. It kind of pulls a lot of his more morbid work together.

The Video Games rating system doesn't work because publishers target games marketing at people MUCH younger than what the game is rated? Duh and/or hello.

I dunno though- Alien's visual sensibility and thriller-style tension? I just don't see that being the same thing as, say, Bonnie and Clyde. I agree about Tootsie though. It's this great, clever, taut little throwback...

I'm confused. Didn't you say above, in another thread, that Copolla and Co made blockbusters when it came to revenue?

You see PUAs in your game shop?

I'm not really saying that their careers were magically destroyed by star wars. Like that George Lucas is some kind of cackling wizard that pointed a wand at Polanski and made him commit statutory rape and go crazy. The issue is more complicated and has to do with what studios, and audiences, were trained to expect or…

I think being an "event" is more important to being a blockbuster in this conversation, since it's already been taken as a given that "blockbusters" aren't the cash cows they're theoretically supposed to be.

Well to be fair, D&D is a really really shitty RPG for the whole role-playing thing.

The fact that sexual humour's involved doesn't debase it.

Invisible isn't good enough. It has to be clear.

Star wars basically strangled mature American film in its cradle. The Blockbuster basically put an end to the mature, intelligent cinema of the sixties and seventies. Arthur Penn, Roman Polanski, Francis Ford Coppola, and of course Stanley Kubrick.

I think this is the only writeup I've seen on the episode that doesn't mention Harmon's involvement with the Dead Alewives and their D&D Sketch.

No, sorry. I think the idea that earlier readers had more refined tastes still stands. I mean, bawdy verse might be bawdy, but it's still verse.

Give it a week and He'll start talking about that spiritual sequel to Queer as Folk again.

Does it have her clear plane? No? Then fuck it right in the ear.

That's my point though. He was two-face without being called two-face, because giving yourself a supervillain name and a secret identity is silly.

I kinda doubt that. Times a million. Everyone is saying she might not be Catwoman based on the fact that the credit is Selina Kyle. The Credit on The Dark Knight was Harvey Dent.

Why does anyone care about her being Selina Kyle, not Cat Woman? Eckhart was Harvey Dent, not two-face.