Letting it go put me in mind of how Betty let herself go, I do hope January Jones is in the new Amazon show

I've always thought January Jones's performance as Betty is really underrated. I never understood the ambivalence people had for her in that.

I haven't clicked your link, but I assume they're all getting Cabinet positions?

Woodstock was probably the biggest door I ever walked in to. I remember that I was, the influence level of the beat, damn, why did I take LSD before I went on? You know the, the guitar neck, it felt more like an electric snake that wouldn't stand still, that's why I'm making ugly faces trying to make the snake stand still so I can like play it you know. I remember saying over and over, God, I'll never do this again. Ever. If you can just keep me in time and in tune. That's all I ask. That was my first mantra.

- Carlos Santana, ep 5

I was in Cologne airport, and I was thinking, if you’re going to have music, what would be the right kind of music for a place like this. Had to be non-narrative, it can't have beginning, middle, and end. It should be like a river where there's a sort of a consistency to the object itself. That it's never exactly the same from one moment to the next. I studied painting, not music. And, I realized when I was quite young that the most interesting form of painting that you could do now was with sound. With, the synthesizer, we can make a sound that nobody's ever heard before. It's a little bit like if you went to a painter and said, I know you got your box of paints there and you got seven colors of the specturm, but, here's another four thousand colors that you've never seen before. With this new for that we still call music, we should call something else.

- Brian Eno, ep 4

I spent most of the mid sixties not hearing anything I ever sang.

Roger Daltrey, Soundbreaking ep 4

Episode 5 - Four on the Floor

Episode 4 - Going Electric

Episode 3 - The Human Instrument

Episode 2 - Painting with Sound

Episode 1 - The Art of Recording

Soundbreaking

I've seen two episodes of this show and they've only pissed me off. Extremely superficial and idiosyncratic treatment of music history that jumps from one big (usually white) name to the next (did you know that the history of dance music goes: James Brown - Carlos Santana (?!) - Chic and the Bee Gees - Madonna - Moby? Nothing about Chicago or Detroit house, nothing about Tom Moulton (the man who invented the remix using tape and a razor blade), nothing about much of anything at all. Probably interesting if you know NOTHING about music, but useless otherwise.

To me, it's kind of like a Mark Cousins Story of Film only it's music. Same criticism, didn't have time to cover this, he should have covered that. I enjoyed it for what it was, and the comments - like Roger Waters talking about when he first heard Sgt Pepper on the radio and pulled over to listen to it more closely. Priceless.

Yes, I meant to make that same comparison and forgot. The interviews are all very good, it's just mystifying what artists they choose to cover. The first episode goes from Elvis and Sam Phillips to the Beatles and George Martin to...Cat Stevens? I'm fully expecting the rap episode to go from The Beastie Boys to Vanilla Ice to House of Pain to Snow to Eminem to Macklemore, casually mentioning NWA, Public Enemy, and De La Soul as "other important voices."

Then there's the 3 episodes remaining. I'm waiting for some Steely Dan.

Hey All.

I'd recommended a sweet little Australian comedy called PLEASE LIKE ME earlier in this thread. It's currently in its fourth season, but the previous three are now available on Netflix here in Canada and, I assume, the US, as well. Hope some of you check it out.

It's not on Netflix in the US. It's on Hulu, though.

Finally got around to Westworld. Well done, was almost everything I was hoping a big HBO sci-fi show could be.

If anybody's been on the fence about The Crown, I'd recommend a watch. It's been compared to Downton Abbey a lot, but the two shows share only the most superficial resemblance. Peter Morgan's scripts are very crisp, the performances and direction are generally excellent, and the cinematography is exquisite. Each episode is self-contained, like a one-hour movie, but, obviously, there is a season-long arc as well. The first two Stephen Daldry-directed episodes might be the limpest and weakest, but if you aren't hooked after the third, give it up.

I've seen people call it boring, and I suppose it might be if you're expecting a historical soap opera like Downton or The Borgias. It's in the long tradition of stiff-upper-lip British TV that shows the upper crust trying to keep a lid on their roiling emotions as they suffer slights and indignities and moral dilemmas.

Slightly NSFW, GQ: How BDSM went mainstream on TV this year.

Cinemax's Quarry was* quite good. The digital aesthetic works against it a little, but everything else makes you feel like you're in 1972 America. Logan Marshall-Green is equally convincing as the show's lead, blowing away his previous reputation as a bargain-basement Tom Hardy for Prometheus. Peter Mullan (looking almost like Ridley Scott funnily enough) would probably be my personal MVP, as the mysterious Broker.

*