Well yeah, but MoviePass worked at both my local indie theater and Alamo Drafthouse. That shit ruled.

Let he who has never planned murders based on playing cards cast the first stone.

It was as recently as, like, six months ago that I was adamantly evangelizing about Art Angels to everyone I’d meet. I still stand by my praise, but also, like, damn. 

For real. At this point, all they’d have left to feature is some In Through the Out Door outtakes.

Waaaaay fucking different experience when you’re acting in it. Especially with a piece of shit like DOR.

Counterpoint: It... will give you a sense of the scope, if it’s intended to (which, given his filmography and apparent savviness with the source material, seems likely)? You’re not really making a strong case for a two-part film not giving a proper “scope of his vision.” Like, why would these examples —

Let’s compromise and say, yes, a ~ limited series event ~ directed by Denis Villaneuves.

Why? Seems like a pretty natural choice, really. For a book like Dune, I’d say this is the best-case adaptation scenario. 

If you haven’t heard the Tierra Whack album, I recommend taking 15 minutes to do so. Every song is exactly a minute long, packs in an average of three brilliant hooks, and is either genuinely hilarious, extremely clever, deeply affecting, or a combination of all three. Promise.

Oh get over it. Dumb jokes don’t necessarily mean dumb people. That’s just Jokes 101.

But why

No point in not taking Burnham at his word.

It lets the slack out in between, when all those stories have to jockey for position with the mythology and characters, who are still only partially formed nearly halfway through the season. Castle Rock has to have a lot of personality, because a lot of the people living there don’t.

Await Further Instructions and Satan’s Slaves sound promising as hell.

There is no god.

Man, No-End House was such a high-water mark for me that Butcher’s Block (while super promising and full of arresting and memorable imagery) was a painful let-down.

I’ll never forget hearing “Lipstick Vogue” for the first time. One of those lightbulb-over-the-head moments. Same with “I Want You”. Fuck, what a song!

Fargo’s UFOs are different, I’d say. Not only was it one of Hawley’s obligatory Coen nods, but also an apparently purposeful choice, given the one-off nature of the show. In other words, Hawley — in theory — knew what he was doing.

Hey, I said save for a few!