Just when we think we are out, the mob entertainment of 1999 pulls us back in for the Robert De Niro/Billy Crystal comedy ANALYZE THIS and James Gandolfini in the start of TV's modern Golden Age THE SOPRANOS. The latter caused one host to pass on the former Harold Ramis film until the recording for this podcast, while the other host took a pass on David Chase's landmark series until much later. How do both of these mob hits hold up now? Find out in our latest episode and at the links below:
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...