If you do want to see what it's like when Horowitz pounds the keys, though, check out his go-for-broke performance of Scriabin's "Vers la flamme." It's kind of a mess, with missed keys all over the place, but you can see just how physically he reacts to it (his expression at the end is priceless.)

I mostly agree, but I'd think more highly of it were it not for that final act, which kinda deflates everything. But at its best, it's deeply disturbing. (Favorite bit is Meg Tilly's "Where ya gonna go?" bit. Chills.)

the now-iconic concept of the pod people letting out a scream when they discover humans.

Just finished Krasznahorkai's Melancholy of Resistance, which builds to a really effective sense of doom, though not nearly as good as the film adaptation (The Werckmeister Harmonies), which is one of the best movies I've ever seen. The novel does have some great stuff not in the movie, though, like a long parody of…

Poe's Pym is like 2/3 unexceptional Melville novel until it dives into a one of the loopiest final acts in all of literature (and the last pages really are haunting). It's easy to see what drew Johnson to it.

this scene, one of the most famous from the show’s first season:

Not a rom-com, but: Aang + Katara. Makes sense from his perspective, but not hers.
Shoulda been Katara + Zuko. That's where the chemistry was.

A conspiracy of cartographers.

It bears repeating!

When it isn't the core of their characters you run the risk of people not realizing they're LGBT characters at all (and it smacks of coyness). See: the gay couple in Alien: Covenant.

It's curious there's nothing from Russia, since there was a little more flexibility pre-revolution and in the NEP years that could have brought on some really great (even if heavily coded) queer stuff, given all the talents involved. I mean, I assume Kolya and Volodya get together at the end of Bed and Sofa, and that…

And the psychosexual lesbianism at the center of Rebecca. Hitchcock really liked his queer villains.

Quite a few sold out midnight screenings, so presumably a few people.

Tabloid reminded me a bit of his earlier films, but it kinda came and went without much fanfare. It was lively, at any rate. Joyce McKinney is quite a presence.

I think that's kind of my sticking point: making more sense narratively isn't what draws me to Lynch, generally. I see what you're saying, I just think it's a less interesting trajectory, but I guess we'll see where it ends up?

I don't know if setting up yet another basic archetype pairing is that insane or ballsy, even if it's retroactive. I'd find it much more unsettling if Laura is just a random casualty of a bigger war. She can still be the narrative centerpiece, but I feel like a (fallen?)savior-Laura origin story is less interesting,…

Actual laugh out loud from me, so thanks.

Sure looked like it.

Since Eraserhead was, is, and likely ever shall be my favorite Lynch, this was obviously my favorite episode of the show so far. The first half hour was sublime (although I did laugh out loud at all that opening horror being followed by "and now, NIN!") The last twenty minutes were sublime.

Right, now imagine that ever time she entered, exited, sat, stood, waved, winked, etc.