Oh sure, David Lynch would be big game if you could snag him, right?

And I do want more diversity on TV, I just don’t have any patience for people who can only view TV like a Human Resources executive.

I wonder if that was a play on Bowie’s really bad American accent (which actually helps with the surrealism here) trying to say ‘We’re not going to talk about duty’ which Lynch later retrofitted.

I’d have to recheck, but CGI was definitely used for Josie’s face in the dresser (and impressively so for the time), so its possible that owls might have been. My recollection is that they were spliced in.

2017 was a rough time. People wanted to be first to ‘cancel’ Lynch and get his head stuffed and mounted really badly, huh?

He didn’t. It was a farce, he dropped his keys to the Great Northern and bent down to pick them up, thus hiding him from the sniper.

I’m replying to something over two years old, but screw it, I’m on a TP bender right now.

I’d wager that the first half of FWWM is even openly antagonistic and things like Lil (and the agents dissection of what ‘she means’), all the coffee being bad and the flashing strip lights being diagetically lampshaded (ha!) are…

I assure you, like King or Ghandi, he acts from a place of love.

I think it’s a question of growth, if anything.

Smith doesn’t seem to have grown in any technical sense (it’s become apparent that ‘Clerks’ ramshackle nature wasn’t a stylistic choice) or as a writer. It happens to loads of people. Remember George A Romero’s late films?

Smith’s biggest crime is alluded to in the review,…

I thought the recent ‘Best of’, Lovely Creatures was really good and gives an overview right up to Skeleton Tree. I know ‘Best of’ collections get flack, but when a band or artist has a massive discography, they can really help you find which era is for you.

The story of one man who learns to have a wonderful kind of day and dons the iconc mustard sweatshirt

My audience laughed at some parts that I think were supposed to be disturbing too, but they sounded like tension breaking laughs rather than mean spirited ones (if that makes sense). I mean, I can obviously never KNOW why someone’s laughing, but it felt more that they misread the tone than were tacitly approving any…

My feeling on that is the film tried so hard to be non-political that it shot for some kind of weird post-racial thing, even though it was set in a stand-in for New York in 1981. As a result, it ended up utterly tone-deaf.

I vehemently disagree, and felt the show not only showed that mental health problems can make you an awful person to be around, but was smart enough to have a character who was aware of and would exploit the myth of the depressive who sees through the World’s bullshit.

I agree the show had a shaky start. It was just…