Argobot

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  1. Our February episode of The Idle Book Club will be on The Odyssey, specifically the Emily Wilson translation.
  2. The Idle Book Club 28: NW

    Hello!! We have been terrible and not updated anyone on the status of the podcast. But fear not, we've just recorded our episode on NW and it will be released soon in what we've retroactively decided to call "Season 3" of the Idle Book Club. For those of you who have still stuck around during the long delay (again, sorry) our next episode will be on The Odyssey, specifically the new Emily Wilson translation.
  3. Stranger Things

    Yes, I had this exact same thought!! Especially because the music in that scene was super creepy and ominous. I guess it was just a red herring that didn't really go anywhere?
  4. Stranger Things

    I know that some people actively hate episode 7 and while I didn't loathe it, I find it more revealing of the writings flaws. It's like they wanted an Empire Strike Backs Jedi-training sequence, but failed to articulate all the emotion and drama that came from Luke and Yoda's relationship. No one was surprised at the resolution to that episode, which is probably why it feels like a slog for so many people. "We're here to steal from the millionaire war criminals!" Spoilers for ep 7: I'm super disappointed in how El in general was handled this season, but the show has never really cared about her as a character really. Same goes for Max when it's revealed that her tragic backstory is
  5. Stranger Things

    I also just finished season 2. I was really worried after the first episode, and while the show eventually righted itself and was generally enjoyable, I think the second season is starting to highlight a lot of the limitations of the show's writing. Some of the choices actively ruined what would have otherwise been a fun follow up to a fun first season.
  6. I wanted him to save Laura, so badly. Even if that would upend everything great about Twin Peaks and FWWM, I desperately wanted Cooper to rescue her and fix everything. I was so heartbroken by the end, along with Cooper and Laura. What a horrifying episode of television. We had the good Cooper back, only for him to revert to someone new. I like the interpretation of new Coop being a combination of his good and evil sides, that seems right. Time travel, dreams, the Black Lodge, none of really matters. The past is the past and there's nothing you can do about it. I want to believe there's still hope though.
  7. Yeah, I don't think all Roadhouse scene were "fake" but now I suspect more than zero of them have been in Audrey's brain.
  8. What an episode!! I cheered when Cooper came back and then teared up at Audrey's Dance. Well worth the wait. A few quick thoughts: - The reveal that Audrey was in a fake Roadhouse means that we know have to question the reality of every Roadhouse scene, right? That would explain why the website run by Matthew Lillard's character had an audio track of all the Roadhouse bands up to that point. It's all been in the Black Lodge (?) or some other place. - All the extras swaying to Audrey's Dance was great. - Will Richard Horne reappear??
  9. The Idle Book Club 28: NW Sarah and Chris discuss NW, Zadie Smith's sprawling tale of the London working class. It's a re-read for both co-hosts, and they loved it just as much the second time through. Join in and see if you agree! Listen on the Episode Page Listen on Soundcloud Listen in iTunes
  10. I had an absolute blast watching this episode.
  11. I also am perplexed by the hangups created by the Richard Horne scene! I don't really understand what Jake or Chris would need for that scene to make more "sense." I agree that it was brutal to watch, and part of the reason why it was so effective is precisely because we understand just enough about what's happening on screen to be upset by it. If people are suggesting it was exploitative, I don't really see. If anything, the honest violence of this scene felt refreshing to a lot of TV/movie violence that I've seen recently, where the violence is pitched as transgressive but really just amounts to the same old tired "are you shocked by how twisted we're being?" trope that is more for enjoyment than unsettling the audience. (I'm looking at you, Game of Thrones.) That scene told us a lot about Richard Horne, his relationship with his family, and the relationship of the Hornes in general.
  12. My comments aren't directed at any person in particular and I don't think the takeaway should be to not say anything in the future. However, I am increasingly frustrated by the very predictable and very unhelpful conversations progressive people will have about art and want to point that out.
  13. Honestly, part of me feels like this conversation undermines actual rape. Maybe theoretically you can make an argument for why it's rape, but it wouldn't be that dissimilar from Dworkin's argument that all penis-vagina sex is fundamentally rape; it makes sense in theory but can never be carried out in the real, messy world we live in. Janey-E and Dougie are heightened, comedic versions of sitcom man and wife. She is the attractive, put upon wife who is constantly crossing her arms and rolling her eyes at her dopey husband who just does not get it. It's so clearly a farce and meant to be funny that serious calls of "she raped him!" seem obtuse to the point of harm. As someone else pointed out, if you follow the scene logically, Janey-E also technically did not consent, since Dougie isn't really Dougie. But again, that's a road that leads no where and is fruitless. What honestly is the point of this conversation? What great injustice is being visited by this scene that we're all arguing against? Why create a culture where we can't given something like this the benefit of the doubt and move on?
  14. I contend that this is exactly how Cooper would have sex, even outside of his Lodge-induced fog. I am also very pro Cooper being good at absolutely everything without even trying. Seriously, she orgasmed vaginally? Good job, Coop.
  15. Everything involving Candy and the casino subplot has the feel of a Coen brothers' comedy. It's heightened absurdity with a low-level hum of danger/potential violence.