While I love most everything about these episodes, I do agree with the assessment of Lucy and Andy being way over the top now. I remember them - particularly Andy - getting markedly worse during the original run, but they're now almost simpletons.

Not to mention - and to be honest, I think this is the most disqualifying thing about him - his shocking, completely transparent, total ignorance of anything to do with government or how the world works. It's extremely clear that he had no idea what a President actually did prior to Obama, whom he'd spent years…

Why the fuck aren't comic book films advertised with posters evocative of comic books! There's so much great stuff you could do with it, rather than these - largely - bland ass things.

On top of all the Cooper in the casino stuff, which grew on me as I watched it, there were two moments in episode 4 that made me have to pause the television -

I can't articulate why, but I also love the FWWM font. And the new title sequence is brilliant: I always loved how the old one set you up for something a lot gentler than the dread and darkness that usually followed; something similar happens when that soothing music continues over the curtains are trippy floor of the…

There's a hilarious, and superbly acted little exchange between Cooper and Denise in Season 2 that I adore:

That whole sequence - and I mean this wholly positively - made me think of weird 90s, point and click adventure games, particularly the special effects of Cooper sliding/fizzing/gliding out into our dimension again.

Do we think the eyeless woman Cooper encountered in the Purple Room, and who leapt into the void, was the thing that killed Tracy and Sam? She moved in a similar way, and I'm sure some of the sound effects associated with her were the same.

I grew to really love the note that the S2 finale's cliffhanger and the ending of FWWM finished on: Cooper trapped, but there to guide Laura to the afterlife was uplifting, tragic, and a thematically appropriate way of having wonderful good and horrifying evil both triumph at once.

See, I didn't love it when I was watching it - in fact, at one or two bits, I think when Tracy and the student were talking about the box and when Phyllis said 'But the Morgans are coming for dinner', I thought, 'Oh no, it's shite!' - but I've been thinking about it constantly since, and looking back, I think it was…

Question: Was that Jacques Renault - the skeezy as fuck bartender who supplied Laura with drugs - behind the bar at the end? The credits listed the actor's name, but the character was pretty thoroughly killed off by one L. Palmer.

Maybe his participation just fell through at the last minute.

"What do you mean?"
"Her face had a sour look on it. Let me ask you something, Stanley, did you notice anything about the dress?"
"The dress she was wearing had been altered to fit her. I noticed a different
colored thread where the dress had been taken in. Also, her boobs were hanging out."
"Gordon said you were good. …

They should drop a line in where it's made clear that James's motorcycle accident was a fortnight before the original series took place, thus elegantly explaining his gormlessness.

This is a lovely simile I'm going to start using.

Because they last so long, and are so tightly serialised, I think TV shows have an unfair disadvantage when it comes to endings.

Yeah I think this is an important part of time travel questions that's never really addressed - parallel timelines almost always just have different versions of the same people.

I could too - they were very straightforward pieces to play, but sounded really good. I was only ever to learn the first of the 4 pages from the Dance of the Dream Man sheet music, which was damn difficult in comparison.

"With big big 'ands… Come on little'un."

I mean, heh, heh, are we to assume he has some sort of magic, hyper dense fat? I really hope someone got fired for that blunder.