The cast is so good in this (Phoebe Cates slapstick performance in the Italian restaurant is a crowd slayer, Carrie Fisher was in some sort of fierce zone, and Rik Mayall uses his most exaggerated Anglo-isms to great effect), but there's still just something that keeps this from working the way it desperately wants to work. A bit flat in spots, a bit mawkish in others, probably too dark for kids and definitely too sexual for kids, it's a uniquely…

"There's no tomorrow... Know why, baby? 'Cause it'll never get here." _ Jacques Renault, blank as a fart
"Good morning, America" - Carl, after 9 a.m.

Edges out The Sopranos hard cut to black scored with "Don't Stop Believin'" in the category of greatest way (/metastatement) to end a TV series. Opening on a television showing static (that is subsequently smashed), it's hard not to read some aspects as Lynch venting frustrations. Characters literally vanish. Cooper is anxious to see…

Fiddling with the aerial doesn't always make the signal more clear. The cat is both dead and not dead (Clive understands the dead cat, but not the math). The man in the prologue is or isn't a dybbuk. The bookends suggest an unbroken cycle that may or may not relate to what characters have and haven't done. "Accept the mystery."

Rabbi Nachtner: "We can't know everything."
Larry Gopnik: "It sounds like you don't know anything! Why even tell me this…