These next four episodes are split two ways again, 13 and 15 seem to be interested in drilling down into objective reality, 14 and 16 go in the exact opposite direction, interrogating these character’s subjectivity. It feels odd to describe them out of order like this, but it’s really the only way that writing like this is going to flow.
Nine episodes in and it seems like things have finally settled down into a good rhythm, although I’m assured by reputation that it’ll be shaken up before too long.
I guess I basically decided to cover these episodes in blocks of four because I got to the end of the fourth and decided it was such an amazing piece of filmmaking that I had to write about it.
Thom Yorke has one of the best faces. I’ve kinda known this since discovering Radiohead as a teenager (eugh, I hate that. Yes, in 2008 I discovered one of the most acclaimed contemporary artists, as though it weren’t a cool English teacher who recommended them to me.)
So this is a show with a main character who is suicidally depressed. It’s confirmed at episode four, but the whole thing’s been building to that point.
I guess this kinda represents an anticlimax then, the last episode isn’t the show’s worst or its best. It hangs somewhere around the middle, barely managing to escape the fog of mediocrity that it is mired in. Maybe i’m just exhausted, Netflix has just uploaded Neon Genesis: Evangelion and I kinda just wanna get this over with.
Okay, this one is an extended six riffs on the same joke none of which are funny. Like, oh my god it’s so fucking bad.