*scribbles COOL = MOTORCYCLE onto a notepad*

I mean, most often the problem posed by the critic is made clear, and typically the term isn't used in such a wide range.

I dunno, the kid was really effective to me, again because it was portrayed exactly as it would be in real life— swift and shocking and devastating.

Eh, I disagree. I think censoring the violence would blunt its impact and give credence to the "Lynch uses violence against women for cheap thrills" criticisms. This wasn't thrilling; it was gruesome and ugly and brutal, contrasting the stylization of the hitman with the reality of what such a method would look like.

Well, Sandy and Jeffrey, anyway.

They mentioned at the end of season 1 that the Captain Chucklecrust's had been bought and was being turned into a strip club. (I think they held the negotiations there.)

Goomer is the neighbor's name.

The problem with "problematic" is that it's a very vague and ill-defined criticism, that can be used from anything to mean "This endorses and propagates violent ideology" to "This made me uncomfortable." What is the problem and how is it a problem?

Well, I guess it had to happen, but it's still a bummer watching Jimmy cross that moral line that separates him from Saul Goodman.

Yeah, when I saw the guy riding by on the Segway I shouted "Michael!" in my best GOB voice.

It's in the very first scene.

Yeah, I wonder about that too. It's presented as though she does it because she's worried about Jimmy's ability to hold up his end of the bargain, but I think there's more going on with Kim psychologically than that, and I hope we get into it, because I feel like we really haven't, not in comparison to some of the…

Because Chuck's condition is psychosomatic.

I definitely think they should do this, just because I want each Breaking Bad spinoff to get more and more ludicrous with the ages in casting. Odenkirk and McKean playing characters 15 years younger than themselves? Fuck that: gimme Esposito in his sixties playing 30-year-old Gus.

Yeah, I'm aware of that part about the socket, but that also might be just a more literal interpretation of what's going on. (The switch does seem to "power down" the room, I'll grant you that.)

Yeah, Dougie was apparently "manufactured for a purpose," as MIKE tells him— and the implication, IIRC, from Coopelganger's dialogue is that he did so as part of his plan to avoid being sent back to the Black Lodge. (How an evil spirit can manufacture a human being, your guess is as good as mine.)

The giant wall socket in the Purple Room first has a "15" above it, which the eyeless woman keeps him away from. They climb the latter to the "roof," and she pulls a lever that electrocutes her and sends her off into space. After this, he climbs down, and the wall socket now says "3." I saw this as her sacrificing…

You're PISSING the customer OFF!

I mean, salacious is always fun, I just don't think anything like that happened here. (I don't have any inside information, though.)

Frank and Sue's fight was raw and uncomfortable in a way this show excels at, that works, that doesn't shy away from the reality of such a situation.