Recap: Vinyl ‘Cyclone’
“‘Cyclone’ is the most trying episode of Vinyl yet for anyone less than fascinated with Bobby Cannavale’s Richie Finestra”
“‘Cyclone’ is the most trying episode of Vinyl yet for anyone less than fascinated with Bobby Cannavale’s Richie Finestra”
“The fourth episode of Girls’ still-terrific fifth season is the first point at which the end of the series comes into sharp focus.”
“There was a return this week, in grand fashion, of Horrible Coke Faces.”
“Damn, this season of Girls is good.”
“This week’s Vinyl was actually good! Pop some champagne! Cut up some lines of coke on the desk! Cue the orgy!”
“The series may not be as wild and crazy as its earlier and edgier self, but the even strain continues to fit neatly with the theme of maturation.”
“The thing about Vinyl is that, if it was good, the series would be a lot more fun to watch.”
“With the series and its central quartet now nearing a more fulsome sense of adulthood, the great delight in Season Five’s debut is in how thoroughly it revels in being a television show.”
“The pilot’s structure resembled a vinyl record by being circular. The follow-up resembles one because there’s a hole in the middle.”
“Like the film, as much as Fargo looks like it’s set in our universe, dashes of the absurd emphasize that the series works under its own logic.”
“Understandably, “Orange Sticker” sacrifices grand thematic focus in favor of pushing the story forward but still manages to meditate on a certain idea.”
“Damon Lindelof and company don’t need to give answers if they’re asking the right questions.”
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
A Conversation Between Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“Don’t allow yourself to be fooled by the “reveals” of True Detective.”
“As a creative whole, the second episode of True Detective was darker than its predecessor, and Nic Pizzolatto’s blatant dialogue ensured that casual viewers would get the hint.”
“This is Los Angeles pulp fiction — not a mystical world of sky monsters and poetic speeches.”
“Seldom more than a vehicle for Pacino to exercise his considerable (and still active) talents, Manglehorn is a string of engaging and breathtaking images that, when strung together, become a subdued meandering plot devoid of any real meaning.”