In a different thread the Sam Neil interview was brought up, and I made the exact same demand. Thankfully, Will said that he would most definitely ask him about it.

Yeah, I'm not saying the action itself was full of Catholic symbolism, just that the way the image was framed - the four men, awe-struck, palms out, supplicant, with the light hitting them and the score swelling - had a certain  Catholic visage to it.

I can follow along pretty well with what's going on plot-wise, but I agree that I don't really care how slow or fast it moves. In all honesty, although I'm very much digging the plot, I don't really CARE about it either. I watch this show, above all, for Milch's dialog and characters. That alone make's it a must-see.

There also seems to be some Catholic symbolism throughout this show - the title credits, the jockey's shrine - that this image nicely played into.

I don't think Ace is pissed that people know Gus owns the horse. They mentioned in the last episode that they made it as obvious as possible that the other mobsters fixed it so Gus would win at the slots in order to make it seem like they (Ace and Gus both) owe them.

Seriously. It's one thing if you're Jeremy Piven, a character actor and one of those, "oh yeah, that guy" guys before you get your big breakthrough role.
 
It's another thing altogether if you're super famous for playing an iconic role for nine years where your lack of hair was consistently the butt of the joke.

No offense to you, but these theories suck. They completely miss the point of both films. If what happens at the end of Taxi Driver is just a deluded death dream - something I'm sure Scorsese and Schaffer would disavow - it takes away any meaning of the overall picture. Instead of it becoming a pointed examination of…

Nice write-up, but I wish  there'd been something about the two best scenes in the film (aside from the amazing flasher wrap-up): the fight scenes.

As others have said, get on Deadwood ASAP. If the Sopranos/Wire are the Beatles/Rolling Stones of modern TV, Deadwood is the Bob Dylan.

Escalante, the Spanish trainer, has been trying to downplay his horse so that he wins more by betting on him. That's why he's mad at the Cajun jockey, because he was saying how confident he was in the horse. Escalante doesn't want anyone being confident in it, even though he knows how fast it is. Richard Kind, as the…

As fine a performance as she gave on Rome, I never really found her all that attractive on it (not that I found her unattractive, but compared to some of the other women on that show, she just didn't stick out to me).

When he's introduced to the other gamblers and presents them with his bankroll for the pick six. He tells them "two insurance broads pay me to fuck them silly."

I'm obsessed with this show purely because of David Milch. I've always thought horse racing seemed really, really cool, but I don't know shit about it. But that being said:

The only problem with this theory (and it's interesting,so don't take this as an attack), is that the death that results in Battlestar isn't based on capitalism. Deadwood, Sopranos and The Wire were all about how the economy that created modern America will eventually destroy it.

Yes, b/c generally, as is the case with this show, things stupid people with bad taste don't like are pretty good.

Hmm, I'm surprised to hear this. I thought Kind really brought it in this episode, going from gruff and stern with Remy to kind and supportive in the span of a couple seconds. He really reminded me of Doc Cochran from Deadwoos there.

Oh yeah, well not only did my (male) 10th grade teacher NOT fast-forward through that part, he wasn't looking when it happened and (after being alerted by the cheers of all us boys), fucking REWOUND it so he (and the rest of us) could catch another glimpse of those beauties.

They already got Jeremy Davis to play Manson. Haven't seen the movie, but that seems like just about the best casting of that role you can do.

Actually, I think I'm gonna start doing that, but only in public.

Even now in the forest, the blade'd be between my teeth, you and I making our way stealthily through the grass. As to us and him, if blood is what it comes to, then a hundred years from now, the forest is what they'll find here.