Lost in the Movies (formerly The Dancing Image)

Sunday, June 16, 2019

Veronica Mars - "Rat Saw God" (season 2, episode 6)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on November 9, 2005/written by John Enbom, Phil Klemmer; directed by Kevin Bray): In a dramatic, unforeseen gear shift, "Rat Saw God" races past the sheriff's election (Keith gets 49% of the vote but there are no prizes for second place) and postpones Wallace's paternal denouement (Veronica sends unanswered emails keeping him in the loop of Neptune's events). There are currently bigger fish to fry. Logan is re-arrested when a new witness comes forward to claim he stood over the dead PCH gang member's body with a bloody knife, screaming racial epithets and swearing his father's money would save him. Never passing up an opportunity to play the churlish, caustic jester, he makes a mockery of the line-up and will only accept a public defender (the marvelous Cliff McCormack who gets some of the best lines in an already very well-written episode). But he can't ride this out: his cellmate turns out to be his father, who insists - despite the obvious facts that he slept with Lilly and tried to kill the Mars family - that he didn't actually murder his lover, and when he finally makes bail he returns home to a burning mansion.

Aaron also gets a visit from Keith, who threatens him less with his words than the realization that he can get access to him whenever he wants (Aaron encounters him in an interrogation room, escorted by a deputy who will swear that Keith was never there). Keith is fuming because Lamb has informed him about Veronica's name appearing on a corpse's hand, and Veronica is forced to tell him about the whole (possible) Echolls conspiracy to kill her by destroying the bus. But if Veronica comes clean on this, she's keeping him in the dark about everything else going on - at the exact moment he calls her up. She's in a small Californian town, at a dingy motel (clerked by the fantastically grungy Tracey Walter in one of my favorite Mars cameos ever) trying to find where Amelia DeLongpre currently resides - yes, that Amelia DeLongpre, paid-off Abel Koontz's daughter whom Veronica tried to leverage in the first season. As it turns out, this is her final resting place - Veronica traces her phone (and body) to a nearby ice box - and it looks like a Spanish boyfriend (as yet uncredited) might be the culprit. Abel hired Veronica to trace her and bring her to his deathbed, but she kindly lies to him instead. "Rat Saw God" ends with Keith hiding inside the decrepit school bus, dredged up from its watery grave thanks to the evidence his daughter brought forward, shining his flashlight on the titular rodent encased on the bottom of a seat. I have no idea what it means yet, but it's a vivid visual to end one of the strongest episodes of the entire series, and easily the most exciting of this season.

My Response:

Saturday, June 15, 2019

Veronica Mars - "Blast from the Past" (season 2, episode 5)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on October 26, 2005/written by Phil Klemmer, Cathy Belben; directed by Harry Winer): Picking up where we left off, Wallace goes straight to his mother to tell her he met Hank and wants answers. The answers she provides are initially reassuring, at least as reassuring as they can be in context. No, he's not lying, but he is misleading; a narc who went in way too far, he was not a reliable person to have in their lives and she considers Wallace's stepfather - the man he grew up thinking was his biological father - to be the real parent. But then Wallace is whipped back again when Hank comes to his workplace and delivers a huge stack of letters, written over many years but always returned to sender. Here Wallace and Alicia reach an impasse; he's deeply hurt that she lied to him and prevented any possibility of a relationship with this man and she's furious that he is disobeying her demand not to talk to him. Wallace tries to share this crisis with Veronica, but her mind is mostly elsewhere, and it seems like he's not ready to include Jackie into his circle of secrets, much to her annoyance. Surprisingly, though, Jackie and Veronica begin to bond when Jackie's credit card is "kidnapped" and racks up mysterious expenses; after Jackie reluctantly comes to her for help, Veronica proves it wasn't Jackie's pal Cora (Dana Davis) - whose recent income influx is due to a weekend job in a giant chicken suit - and traces the charges to the psychic Madame Sophie (Christine Estabrook), a palm reader who also runs a popular live show on a local access channel. Disgusted with Madame Sophie's exploitation of grieving classmate Michelle Thompson (Samantha Klein), Veronica conspires with Jackie to cause the charlatan's comeuppance.

Meanwhile her dad goes from heavily favored frontrunner to neck-in-neck in the sheriff's race, when Lamb pulls up an old bungled DUI stop from 1989 in which the then-Officer Mars ruined a chance to keep the future school bus driver off the road. Determined to get some dirt on the no-doubt corrupt current sheriff, Veronica plants a literal bug in Lamb's office in the guise of an encased beetle that's ostensibly a gift from Duncan's out-of-town father (it's a cheeky reference not just to surveillance but to Lamb's frequent campaign trail rhetoric about an infestation of crime in Neptune). And get dirt she does, in a development that begins to draw the various subplots together. She discovers that Jackie's dad, a retired baseball star and compulsive gambler, has bet on baseball; Lamb blackmails him in order to secure a massive campaign contribution and endorsement. At first, Veronica is hesitant to use this juicy evidence for Jackie's sake, but that changes when she goes on Madame Sophie's show and the table is turned: the psychic reveals an embarrassing personal secret that she confessed only to Jackie and it becomes clear that this entire investigation was an elaborate prank Jackie designed to humiliate someone she considers a rival for Wallace's affections. The stunt backfires when Wallace - who has been nominated for homecoming king thanks to Veronica's attempt at at a pick-him-up - refuses to take Jackie to the dance. Meanwhile Veronica, not knowing they didn't go together, yells at Jackie when she catches her drunkenly dancing with Logan and only makes things worse.

Wallace is just as mad at Veronica as he is at Jackie, accusing her of not caring about his own personal needs and desires; he's sick of being her second fiddle, always offering her emotional support she doesn't reciprocate, and so he begs her not to take whatever revenge she's planning to take on Jackie. As a result, she leaves a CD - featuring the burned audio of Lamb exposing Jackie's dad - on the kitchen table instead of taking it to the DJ at homecoming. Will Keith discover the "music mix" and blow the whistle? He's demonstrated reticence on another front already; when Veronica speaks to Michelle about the psychic show she discovers the girl has a voicemail from her deceased friend moments before the bus went off the cliff, revealing that there was an explosion before the bus hit the guardrail. Keith doesn't want to exploit this for his own gain so he takes the recording to Lamb instead of the press (and almost immediately regrets his dutifulness). Anyway, Keith and his daughter soon have another problem on their hands: Alicia calls up, frantically looking for Wallace, and Veronica knows it's because he watched her make a scene with Jackie at the dance. "Blast from the Past" (multitude of meanings in that title) ends with Wallace's dad driving him into the desert as he refuses to pick up his best friend's call.

My Response:

Friday, June 14, 2019

Veronica Mars - "Green-Eyed Monster" (season 2, episode 4)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on October 19, 2005/written by Dayna Lynne North; directed by Jason Bloom): Although I don't think we've seen her (maybe a quick glimpse?) since before her fateful bus ride, Meg continues to hover in critical condition at the hospital. Veronica visits only to receive two rude awakenings. Meg's parents (Geoff Pierson and Katie Mitchell) and sister Lizzie (Anastasia Baranova) apparently hate her almost as much as Meg did, merciless not only in their accusations of man-stealing but, more directly (and even more unfairly), of forcing Meg to take the doomed bus. That's maybe not too surprising, but a bigger shocker is the other visitor waiting by Meg's room, who also gets an earful from Meg's family: Duncan. This causes Veronica some anxiety: who is her boyfriend really in love with? Her personal bout of ambiguous jealousy is complemented by the episodic case, in which the fanatical but secretive rich girl Julie (Laura Bell Bundy) wants to dig up every possible detail on her supposedly humble fiance Collin Nevin (Michael E. Rodgers). Is he cheating? Is he a gold-digger? As it turns out, after several wacky escapades including a teasing Veronica trying to hit on him at Julie's request, Collin is both a devoted boyfriend and, himself, secretly wealthy but due to crossed information Julie thinks he's poor and breaks off the engagement (much to Collin's benefit, we're sure). Bundy and director Bloom play this comedy very broadly to offset Veronica's more lowkey emotional strife.

Ultimately, Veronica is able to help her estranged frenemy; Lizzie comes to her with a hard drive full of Meg's personal information that needs to be transferred without her parents getting a look at it and the detective enlists good old Mac to help her hack in and bail out. And if this gesture of good will wasn't enough, she also denies her urges to sneak a look at Meg's digital diary herself - having seen what "the green eye" did to Julie. Elsewhere in the episode, Veronica links the dead Curly with both Weevil (whose earring was found in a related evidence bag at the police station and who received a call dropping a tip about Curly's involvement with the crash) and Logan (whose house the call came from on the night after the crash, while he was throwing a party that Weevil invited himself to). And in the storyline that pays off the most in episode 4, Alicia enlists Keith in an effort to frighten off the man they ran into on vacation: Carl Morgan, an ex who appears to be stalking her. Keith even tries to involve his political opponent, Sheriff Lamb, but is told that "Carl Morgan" is in fact Nathan Woods, a Chicago cop with a great reputation. As Keith registers that Alicia has been lying to him, we learn Nathan's motivation for coming to Neptune. He introduces himself to Wallace not just by his real name, but his real relation to him: he is the boy's long-lost father.

My Response:

Thursday, June 13, 2019

Veronica Mars - "Cheatty Cheatty Bang Bang" (season 2, episode 3)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on October 12, 2005/written by Phil Klemmer & John Enbom; directed by John Kretchmer): Once again, Veronica's "minor" high school investigation spills out into other storylines, with implications for her as well as other major characters. Beaver Casablancas hires her to find out who his new stepmother is having an affair with; Veronica's surveillance reveals not only that Logan is the culprit (revealed to Beaver before she has a chance to find out herself) but that Dick Casablancas, Sr. is engaging in real estate fraud. While Veronica ensnares her classmates' parent in an SEC raid (the episode ends with Dick racing through the office and shredding files before leaping into a rooftop helicopter), her dad heads out of town for a relaxing weekend with Alicia. However, as they attempt to enjoy their vacation a strange man (Cress Williams), whom Alicia acts as if she doesn't recognize, follows them around. He flashes a badge at the hotel concierge and later makes a phone call, confirming that he's located Alicia. Back in Neptune, another Mars has her eye on another Fennell; Veronica is not taking to Wallace's new girlfriend Jackie and suffers through several viewings of Pride and Prejudice in which the showoff-y new girl boasts about all of her adventures.

The real drama of the episode is elsewhere, hinted at the end of episode 2. That corpse that washed up on shore wasn't the bus driver after all - although the dead man is (at first just loosely) connected to the bus accident. After being told that her name was written on his palm, and shown a photo of the late Curly Moran (Adam Bitterman), Veronica recognizes him as someone she encountered at the makeshift memorial on that cliff. When she gathers his belongings from the mechanic shop where he worked, she discovers a photo signed by Aaron Echolls and at Logan's house - we'll get to why she's there in a moment - she spots a poster with Moran's name on it: he was the stunt coordinator on an Echolls action classic from the eighties in which he helped set up a legendary sequence...featuring a school bus. With horror, Veronica realizes that she was the intended target of a mass murder; Aaron must have hired Curly from prison to kill Veronica.

My Response:

Wednesday, June 12, 2019

Veronica Mars - "Driver Ed" (season 2, episode 2)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on October 5, 2005/written by Diane Ruggiero; directed by Nick Marck): In the aftermath of the bus tragedy, the show doesn't have much room for a light-hearted Veronica-helps-a-student B story. Instead, Wallace takes over that role for an episode, assisting the tough-as-nails Jackie Cook (Tessa Thompson) - on whom he develops an instant, proudly proclaimed crush - as she tries to figure out who scratched her wealthy father Terence Cook's (Jeffrey Sams') car in the school parking lot. Even there the resolution has a connection to the larger tragedy: the culprit is a reporter posing as a student, part of the rabid media presence that has descended on Neptune recently. One of the most grotesque news stories involves Ed Doyle (no actor listed), the bus driver whose last day on earth becomes the focus of a police investigation and social gossip as well as press smears. Convenience store clerk Duane Anders (Kevin Smith, yes that Kevin Smith - very much playing to type) shows up on a broadcast to pontificate about what Ed bought at the store, and then begins selling "angel bus" merch (T-shirts and hats featuring the school bus decked with halo and angel wings) to exploit his proximity to tragedy.

The glum but pugnacious Jessie Doyle (Ari Graynor) hires Veronica to salvage her dead father's name, but the prospects don't look good. Not only does Sheriff Lamb haughtily announce Ed's past mental problems, but the cops found what appears to be a suicide note on his hard drive. Plus Ed bought a St. Christopher's medallion from Duane only to toss it in the trash before taking his last ride. Case closed? Not quite. Veronica's sleuthing, perceptive as always, builds a counter-case from numerous little details. The medallion was purchased to make change for a phone call, and Veronica traces that call to Carla Cotter (Kristin Dattilo)...Ed's mistress. That note, it turns out, wasn't written because Ed was going to kill himself but because he was going to leave his family for Carla. A distressed Jessie pleads with Sheriff Lamb to re-open the case and he refuses, inspiring a previously reluctant Keith to run against Lamb in the upcoming election (a nice tie-in for what seemed to be a minor subplot throughout the episode). But "Driver Ed" has one more surprise in store: Veronica's name, scrawled on the palm of a corpse (the driver's?) as it is pulled onto shore.

My Response:

Tuesday, June 11, 2019

Veronica Mars - "Normal Is the Watchword" (season 2, episode 1)

Welcome to my viewing diary for Veronica Mars. I will cover each TV episode (and eventually the film), several days a week; this will conclude just as the revival (which I will also cover) premieres on Hulu. I have never seen this series before so there will be NO spoilers.

Story (aired on September 28, 2005/written by Rob Thomas; directed by John Kretchmer): The tension in Veronica's life has been released. Well, mostly. When we met her at the outset of season one, her fire burned brightly: resourceful, traumatized, lonely, loyal, and observant, she'd been cast out of the town's elite circles alongside her beloved father. Despite intersecting with many different social spheres, she did not have a firm place in any of them and this outsider status endeared her to us. Throughout that season, her family life consisted of broken ties and terrifying secrets, her professional life was submerged her in the community's dirty business, her school life grappled with social stigma, and her romantic life endured frequent betrayals and disappointments. Now? At the start of her senior year, Veronica's mother is long-gone and not missed (her father has moved on and continues to date Wallace's mother); meanwhile, her dad is her dad and Duncan is, thankfully, very much not her brother. She is working at a restaurant instead of as a private eye (while her father reluctantly banked on the Echolls bust to publicize a true-crime bestseller), she's been accepted back into the company of the upper-class "09" zip code, and after breaking up with the moody-as-ever Logan Echolls (whose star has fallen as much as hers has risen) she is back with kind, quiet Duncan Kane.

But if Veronica's life has returned to normal (and a "normal" with heavy class connotations), Neptune has only plunged further into a kind of cold civil war with occasional hot flashes. The night Aaron Echolls was arrested for Lilly Kane's murder, a knife-wielding Logan was found passed out next to a dead biker. He claims innocence, and Veronica believes him; so does the justice system - but at least half the town does not. Instead, no doubt due in part to the shocking revelations about his celebrity father, Logan becomes the poster boy for unjust privilege in a town already simmering with class (and, as Weevil reminds us, racial) tensions. Veronica sticks with him through this trauma, which earns her the enmity of Neptune's have-nots (except the ever-loyal Wallace), but their relationship doesn't last once Logan, Dick, and Beaver vandalize the community swimming pool (knowing all the rich kids have pools in their backyards) as revenge for Weevil's gang firing a shotgun at the car of Logan and Veronica. Logan confronts Veronica about the break-up (she accuses him of partially enjoying the drama) and an angry Keith storms inside, throws the ex-boyfriend against the wall, and warns him never to come by again. Duncan, who has been showing up at the cafe where Veronica works all summer, is the beneficiary of this break-up which sours Duncan's own ex, the once-sunny Meg Manning (Alona Tal), on her former buddy. Logan, on the other hand, moves on by sleeping with with the Casablancas' boys new stepmom, the scintillating young Kendall (Charisma Carpenter), a former Lakers cheerleader.

On a lighter note, Veronica offers her long-dormant services to Wallace and several other athletes kicked off their teams for failing drug tests (even goody two shoes Meg fell victim). She quickly disposes with a red herring, the bullied Vincent "Butters" Clemmons (Adam Hendershott), who had access to the test results because his dad is the principal, before settling on the real conspirators: a group of wealthy parents whose children stood to benefit if the top stars on each team were dispatched. There is pleasure in revisiting these gumshoe antics, but most of the premiere's energy is focused on these more long-term crises and they come together in the episode's last act. Following a field trip to a baseball stadium, where the town's wealthy mayor (Steve Guttenberg, natch) introduces his daughter Gia Goodman (Krysten Ritter) to her new classmates, Veronica is invited to take a limousine ride with Gia, Duncan, and the Casablancas brothers. She initially accepts, which leads Meg to refuse; a guilty Veronica decides to get back on the school bus that took her there so she can make up with Meg. It doesn't work, and then at a rest stop along the way Veronica runs into another friend-turned-enemy; she and Weevil hurl accusations back and forth (she thinks the biker was killed by one of his own gang while Weevil too was out cold, and he thinks she abandoned all of them because inside she's an 09er too).

They argue so fiercely that Veronica misses her bus and Weevil, softening, offers her a ride on his bike. In fact, this argument appears to have saved Veronica's life. Along a coastal highway, the motorcyle slows to park alongside the limo on cliff's edge. Gia stands shocked, staring down below, and Duncan races to Veronica's side, embracing her. Strewn among the rocks below, floating in the stormy surf, is what's left of the bus. Coming after a year of shocking violence and simmering tension, this accident is just the thing to spark an all-out war amongst the hostile members of the fraying community. All the more so since, as Veronica's ominous narration reminds us, nothing in Neptune happens by accident.

My Response:

Monday, June 10, 2019

The Veronica Mars viewing diary

In 2018, fourteen years after the pilot episode on UPN, I began publishing my episode-by-episode of Veronica Mars. I had never watched the show before, so this was a first-time journey into its story - there are no spoilers and I offer an in-the-moment take including my speculation about where the series would go. That spring I reviewed the first season and in 2019 I learned that Hulu would be streaming a limited series revival, so I carried on with seasons two and three, followed by the feature film and - in a marathon over several days as I caught up with the new episodes - season four.

Here is my full episode coverage of Veronica Mars...

Sunday, June 9, 2019

Veronica Mars every day, leading up to the Hulu premiere on July 26

I started watching Veronica Mars in 2016, although it took me a while to really get going on the first season viewing diary that I published in 2018. This year turned out to be the perfect opportunity to follow up on the rest of the series because Hulu announced a return as a limited series. Eight episodes will drop all at once on July 26, 2019, and the timing worked out for me to run the diary for seasons two and three and the feature film right up to that date. Aside from a round-up page which will go up tomorrow and an announcement just before season four, every day will see a new post. I'm also threading not just these upcoming entries but my viewing diary from last year on Twitter, along with a countdown to the Hulu premiere.

On July 26, I will review the episodes as quickly as I am able over a "live marathon" weekend. I will be stopping after each entry to write my response, so future viewers won't get spoilers and those who watch it all at once can have at least suspense, waiting for my replies!

Here are a whole lot of images from the original series and film, gathered for my viewing diary but unused until now. See you in Neptune on Tuesday...

Monday, May 27, 2019

Lynch/Peaks Literature / May 2019 Patreon podcasts: LOST IN TWIN PEAKS #4 - Season 1 Episode 4 and LOST IN THE MOVIES #55 - Twin Peaks books (+ podcast recommendations, favorite films archive #56 - 46: The Last of the Mohicans, Historias Extraordinarias, 2001: A Space Odyssey, L'Eclisse, Mean Streets, Pinocchio, A Walk Through H, Murder My Sweet, Pat Garrett & Billy the Kid, Twin Peaks: Fire Walk With Me, The Big Lebowski)

includes visual line-up of Lynch/Peaks book covers as a reference

Ten years ago (almost exactly to the day) I documented my history of cinephilia through a series of movie books; today I continue that tradition in podcast form with a rundown of the books that guided my Twin Peaks journey since 2014, in the order I read them. The emphasis tends to be on how they shaped or intersected with the themes or approaches I was exploring, but I'd love to hear your general thoughts on these books (and others) - I'll include them with future listener feedback, and perhaps share some more of my own too. And I've linked my interviews with several of these authors below the covers.

This will be the last random "Twin Peaks Reflections" section before I take a brand new approach to be announced in June (albeit already previewed on Twitter). I'm quite excited to begin presenting that.

For $5/month patrons, I continue my Lost in Twin Peaks podcast with the episode on Laura's funeral, again over two hours and with room for plenty of additional context on other shows and news stories of the period as well as in-depth exploration of the ongoing investigation and the episode's events...

And for the main podcast, in addition to the Twin Peaks books, I cover other podcast recommendations (including a few Peaks specials amongst the usual political suspects) and cross the halfway point on my archival 100 Favorites series, including at least one movie you may have seen me discuss before!

Here's something to look at while you listen...

Book covers (visual reference)

Tuesday, April 30, 2019

Is Twin Peaks a dream? & much more ... April 2019 Patreon Podcasts: LOST IN TWIN PEAKS #3 - Season 1 Episode 3 and LOST IN THE MOVIES #54 - Cooper's dream or mediated reality? (bonus conversation w/ John Thorne + favorite films archive #67 - 57: The Apu Trilogy, Rear Window, Au Hasard Balthazar, The Best Years of Our Lives, 42nd Street, Barry Lyndon, Apocalypse Now, Civilisation, Dekalog, Annie Hall, Casablanca)

"We live inside a dream..." and with this episode the dream continues. I conducted a long interview with Twin Peaks scholar John Thorne last December but almost immediately after he dove into an extensive new analysis and hoped we could discuss this too. So a few weeks ago we talked again, this time focused mostly on his thesis that the third season of Twin Peaks is a "mediated reality" in which we view Cooper's vision of "real" events (though what's "real" is itself a sticky question). I've shared selections from this conversation publicly on YouTube, divided into the following topics: The Return as dream/mediated reality; the desire or necessity for a dream/mediated reality interpretation; the beginning and end of The Return and the end of Fire Walk With Me; and Cooper's interpretation as a "cover story."

Here are my Patreon podcasts this month, starting with the $5/month Twin Peaks rewatch in which I go episode by episode through the entire series. David Lynch returns to the show he kicked off and incorporates his alternate ending to the pilot, which I incorporate at length. There are also asides into the context of the time, including surrounding shows like an interview with Donald Trump's mistress and the quintessentially late eighties/early nights cop show Max Monroe (which must be seen to be believed). This is one of my longest episodes for season one, as the "uncanny" truly begins to blossom in the small Northwestern town.

Besides an additional hour of conversation with John Thorne (the whole section runs for over eighty minutes), I continue my "Favorites" reading series with classics from Hitchcock, Kubrick, and Coppola among others; updates, podcast recommendations, and listener feedback will be saved for next month as this episode was already quite long without them.

Podcast Line-ups for...

Sunday, March 31, 2019

The path to Journey Through Twin Peaks

You can bookmark this post to check back periodically. I will update each step to note when it is completed, bringing me that much closer to publishing new Twin Peaks videos. (last updated May 17, 2019)

What I will finish behind the scenes before Journey is published:

1) create all Patreon podcasts ahead of time through October 2019
(one main and one rewatch podcast each month)
completed May 15, 2019

2) create a viewing diary for Veronica Mars
(finish watching/reviewing seasons two and three and the feature film before the Hulu revival begins this summer)
update: The Hulu revival is scheduled for July 26
(see revelant thread)

3) research the work of Mark Frost
(finish watching Hill Street Blues season five and Buddy Faro, maybe re-read/re-watch books/films/episodes, etc)

4) create one 3 1/2 Minute Review video and two Side by Side videos

(I discussed the structure here)

6) Re-design the site

What I will present on the site before Journey is published:

1) Publish, as frequently as necessary, the Veronica Mars viewing diary for the old episodes leading up to the Hulu premiere
(the Hulu viewing diary will go up alongside video essays if necessary - it won't be, see above)

2) Publish, once a week, seven non-Twin Peaks video essays leading up to the first Journey video

You can follow my progress even more closely in this Twitter thread.

The details:

Thursday, March 28, 2019

Lynch Madness: choosing our favorite Lynch film on Twin Peaks Unwrapped (w/ Mya McBriar)

I joined the Twin Peaks Unwrapped podcast (along with Mya McBriar, of Twin Peaks Fanatic) for our first discussion in a year, and it was a doozy - not just a normal conversation, but a "March Madness"-style competition to determine our collective favorite Lynch films by setting two against each other in brackets and advancing until only one remained. You won't believe what happens next...

There are plans to use this format again for episodes, and I can't wait. It's of course ridiculous to set Lynch's film against each other this way, but by embracing that ridiculousness we had a blast and even managed to point out some interesting strengths, flaws, and surprises about the various works. How would you have voted in each step?