I’m not really clear on whether Goodman’s character knew exactly what was up there. Regardless, I think that he, in classic survivalist mode, figured his little fortress domain was secure against Russian/Chinese nukes, aliens, the Z.O.G., or whatever, letting him play out whatever little psychodramas he wished.

I thought Supertrain and Pink Lady and Jeff did that.

Juxtaposed with the lyric “Lives in a dream”, I thought it pretty obvious that Ms. Rigby’s mind had simply deteriorated. She wasn’t picking up rice for any logical purpose, she was just idly playing with it while remembering.

I guess the key questions would be: What was it costing per episode, and were there points of friction with the show-runner or cast that would have encouraged FX to wash their hands?

Second hand, but a group of my friends saw the original run of John Carpenter’s The Thing in a theater in a dying lower-tier mall. They were the only ones there, the ticket guy hassled them about showing ID, in kind of classic “last chance to turn back” fashion, and the a/c in the theater was set to an Antarctic…

Nobody else in my house was affected either, which is why I think it was an allergy that made the unfortunate difference in my case. Coincidental iron deficient anemia seems significant here. As you note above, there are prescription and OTC medications that can contribute to that.

It was arguably one of the first “workplace comedies”, with the Germans in the role of the company’s idiot management.

I’d definitely buy that. I had a pretty frightening episode at home about two years ago. I have normally pretty mild asthma, and started having serious difficulty breathing, needing to rest frequently when walking up steep hills. I was afraid I’d developed full-blown COPD or emphysema.

I don’t know that the appearance of “Sheriff Pepper” in TMWTGG was really intended to run with the good ol’ boy smash ‘em up trend, so much as just trying to milk a character that audiences seemed to like — in the same way we tend to get 4 or 5 subsequent rehashings of a marginally successful Saturday Night Live…

I thought the best part was how they handled the turn — not just an arbitrary thing, but him getting drawn into the weird stuff and doing some legit soul-searching. I particularly loved him sharing his misgivings about his actions with the gang he ostensibly “led”, and their effectively pressuring and dragging him…

I deduced fairly early that Gabriel was a parasitic twin brother, likely inspired by the tale of “Edward Mordake” (still often cited as true for having appeared in the otherwise largely credible Anomalies and Curiosities of Medicine, though the source of it, and another dubious article in the book, seems to have been…

I don’t think it’s Hollywood dictating this unilaterally. I think the starlets themselves are aggressively trying to maximize their earnings in their peak years, like professional athletes.

Inasmuch as her character was essentially bedridden, I regrettably never saw Ms. Margolyes at the Philadelphia Academy of Music for the opera scenes. I did “interact” with Ms. Ryder (who was my main inspiration for seeking the “extra” work) in that she waved to the crowd from her proscenium box at the beginning of the…

I only regret that he wasn’t asked about his rather small role in The Age of Innocence, in which I had the honor of being an extra, seated immediately in front of his proscenium box in the first scene.

distracting to see this grown-ass man with a visibly receding hairline act like an awkward adolescent.

I think Godot herself has a lot to do with the appeal of the franchise. She was the only thing that made WW84 remotely tolerable for me, and she certainly elevated the first one substantially.

I don’t even remember it in wide release.

They just look like bagel bites to me - one egg, two regular, and a pumpernickel. I bet they’d be better with a bit of melted butter poured over them (what isn’t?).

That’s not the most uptempo track in the first place. It’s in keeping with some bombastic orchestral versions I’ve heard before.

I’m not sure that legal suppression was the chief reason the look of Count Orlok didn’t become the dominant paradigm, so much as other cultural resonances. Nosferatu more-or-less invented the trope of sunlight being lethal to vampires, and that did indeed catch on to be the cultural standard.