Entertainment

After three episodes, I’m still amazed at how this show manages to evoke such strong emotions amidst all the turmoil. The “9:00 a.m.” hour seems even more chaotic than the previous ones, which is quite something. When a patient comes in with a nail to their heart and there’s humor – let’s remind those med students about melee again, Hank the construction worker! – as well as danger, it’s hard not to be amused…and concerned. Yet, by the end of the episode, that patient becomes almost insignificant, leading one to wonder if there might be too much happening? I’m immersed in the intense realism The Pitt is aiming for, but with so many patients coming and going quickly, it’s becoming challenging to connect with them all. We may not be Dr. Robby, the Master of Multitasking, but we appreciate having a few long-term patients to help ground the narrative. I understand why it’s done this way, but I’m also grateful for these recurring characters that anchor our story.

However, their escape wasn’t completely unnoticed. Gabby harbored suspicions, and Dylan picked up on some oddities as well. He focused his attention on a secret bookcase room, feeling certain something there had been shifted. Though he didn’t discover any solid proof, Danielle observed him from the sidelines — and with his pursuit of Bob and his growing suspicions, it seems Dylan is the one who’s closest to uncovering the Traitors’ secrets. And they appear aware of this, which might put Dylan in danger.

As a cinema enthusiast, let’s focus on the key highlights of this episode, shall we? It’s quite obvious that following her conversation with Calvin, Kacey is ready to experience something new, if you catch my drift! She distributes gift cards for frozen yogurt, which seems to be the new trend at college campuses. She wants some space to prepare herself for a moment with Cooper, and her room is adorned in what feels like a Disney-inspired adult theme, complete with fairy lights, pink curtains, and a playlist featuring the most romantic Disney kissing scenes. Bela, slightly concerned, asks if Kacey wants feedback, to which she politely declines, and the girls cheer in response. I couldn’t help but chuckle! Kacey hurriedly dismisses them from her room, not ready to shed tears just yet. Whitney and I both question this, whispering “yet?” under our breaths, expressing our concern. The big question is when she intends to cry – before or after? My hunch is it’ll be afterwards.

Before delving into Salley’s house-drowning party, let’s discuss some important storylines first, particularly those involving veteran characters. The show starts with what can only be described as a disappointing meeting in Bravo history – Craig visits JT for coffee and a banana, and JT denies calling Miss Pat a derogatory term. Craig counters by saying, “Well, yes, you did. Let’s see the evidence!” However, despite numerous attempts by many interns to find the incriminating footage, no one could locate a single instance of JT using the word ‘bitch’, making their mission unsuccessful.

The final scene of David Lynch’s movie, “The Elephant Man,” focuses on the life story of the disfigured performer, David Merrick (played by John Hurt). The film starts with unsettling scenes depicting elephants attacking Merrick’s mother, followed by his birth. Significant moments in the movie, as seen in Lynch’s other works, are portrayed abstractly – for instance, a puff of white smoke represents Merrick’s birth. The film concludes with Merrick completing a sculpture of a cathedral and resting on his hospital bed, mirroring a painting of a sleeping child on the wall. As he lies there, Merrick’s mother appears to him again and says, “Nothing will ever truly die.

MacLachlan expresses his initial thoughts about Lynch, describing him as a mysterious, instinctive, and imaginative individual: “He seemed connected to something we all aspire to connect with.” MacLachlan recalls their collaboration on the 1986 film, “Blue Velvet,” and the TV series, “Twin Peaks,” as times when their bond grew stronger. He emotionally notes, “I’ve always found him to be the most genuinely vibrant person I’ve ever encountered.

Years ago, when Mad Men was airing on AMC, I had the privilege of meeting “Peggy” (Elisabeth Moss) and “Don” (Jon Hamm) at a gathering. To me, they were more than just actors; they were the embodiment of their characters. I admired them greatly and felt the show’s casting was exceptional, with brilliant writing and an immersive atmosphere. In my eyes, they were Peggy and Don. It was natural for me to address Peggy as “Peggy.”

Fortunately, they didn’t seem bothered by it, as I learned later. In Cologne, Germany, we even shared drinks together, and in Paris, I had a chance to socialize with Peggy on various occasions with my wife.

Fast forward a few years, during an interview on Jimmy Kimmel Live!, Moss shared her version of the story. According to her, from our very first drink, I referred to them as Don and Peggy, and this continued throughout our interaction. Later, she recounted, I emailed her as “Dear Peggy” and signed off with a warm greeting to Don.

Apart from that, there’s Mary Cosby. Originally one of the main cast members, she has never held back her thoughts and can come across as blunt, even to the point of being rude. She’s been disrespectful towards her fellow cast members, such as calling Jen Shah hospital-like or comparing Whitney Rose to a bobblehead. With no apparent ally on set, Mary missed the second-season reunion, leading some to believe she wouldn’t return.

Ever since David Lynch’s groundbreaking film, “Eraserhead” in 1977, he has been hailed as one of our most intriguing and mysterious directors. From films like “Blue Velvet,” “Mulholland Drive,” to TV series such as the original “Twin Peaks” (specifically the first season from 1990 and the critically acclaimed “Twin Peaks: The Return” in 2017 – ignore season two), Lynch has demonstrated a knack for crafting eerie surrealism. He has also shown an ability to hide the motives behind his creations. This is why the emergence of his 2018 autobiographical work, “Room to Dream,” comes as quite a surprise. As Lynch shares a cup of coffee and cigarettes in his Hollywood Hills painting studio, he reflects, “I know people will seek answers in the book, but providing any clues was not my intention when I wrote it.

The lawsuit filed by Baldoni marks a new development in an ongoing legal dispute that commenced on December 21 when the New York Times published a damaging report about Lively’s accusations against Baldoni regarding mistreatment during filming. This article mentioned Lively’s complaint to California’s Civil Rights Department, potentially hinting at a labor lawsuit against Baldoni, and alleged that his crisis management team attempted to harm Lively’s reputation. According to the New York Times, Baldoni (also the movie’s director and writer) and his team were concerned that Lively’s allegations of inappropriate sexual comments might become public, so they chose to act proactively. On December 31, Baldoni sued the New York Times for libel, claiming that their reporters used selective information and manipulated communications by removing essential context and intentionally editing them to mislead.