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Evening viewing recommendation? On Criterion Channel, don't miss Werner Herzog's MY SON, MY SON, WHAT HAVE YE DONE (2009) before it leaves tomorrow! Produced by David Lynch, Herzog’s typically idiosyncratic take on a true crime combines elements of horror, hostage drama, and police procedural — playing like a diabolical...

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Evening viewing recommendation? On the Criterion Channel, watch David Lynch's THE STRAIGHT STORY (1999)! ❤️ Between the dark surrealism of his LA-set neonoirs, Lynch took a detour to America’s heartland for this surprisingly down-to-earth and heartfelt road movie—the film he described as “my most experimental.”
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Evening viewing recommendation? On the Criterion Channel, watch David Lynch's THE STRAIGHT STORY (1999)! ❤️ Between the dark surrealism of his LA-set neonoirs, Lynch took a detour to America’s heartland for this surprisingly down-to-earth and heartfelt road movie—the film he described as “my most experimental.”

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Evening viewing recommendation? On Criterion Channel, don't miss THE DEVIL'S ADVOCATE (1997) in our Corporate Thrillers collection before it leaves at the end of the month! A diabolical performance from Al Pacino lights up this operatically over-the-top legal thriller with a supernatural twist.
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Evening viewing recommendation? On Criterion Channel, don't miss THE DEVIL'S ADVOCATE (1997) in our Corporate Thrillers collection before it leaves at the end of the month! A diabolical performance from Al Pacino lights up this operatically over-the-top legal thriller with a supernatural twist.

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Evening viewing recommendation? On Criterion Channel, watch Jane Campion's rapturous and exquisite romance BRIGHT STAR (2009) before it leaves in April. 💌 With a visual lyricism that echoes the sensuous romanticism of John Keats's verse, Campion evokes a world where, though life may be fleeting, great art—and great love—last forever.
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Evening viewing recommendation? On Criterion Channel, watch Jane Campion's rapturous and exquisite romance BRIGHT STAR (2009) before it leaves in April. 💌 With a visual lyricism that echoes the sensuous romanticism of John Keats's verse, Campion evokes a world where, though life may be fleeting, great art—and great love—last forever.

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Evening viewing recommendation? On Criterion Channel, don't miss our FUN CITY collection before it leaves next month. Get lost in bygone New York with a selection of films that forever shaped the city's cinematic identity. Infused with the dysfunction and raw energy of the late ’60s and ’70s, this era of filmmaking is now the stuff of legend.
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Evening viewing recommendation? On the Criterion Channel, watch Jonathan Demme's RACHEL GETTING MARRIED (2008) before it leaves at the end of the month. At once tender, painfully honest, and incisively funny, the film abounds with the rich and eclectic characters Demme specialized in creating, brought to life by a virtuoso ensemble cast.
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Sunday evening viewing recommendation? On the Criterion Channel, watch O BROTHER, WHERE ART THOU? (2000) in our Odysseys collection before it leaves at the end of the month! The Coen brothers' (extremely loose) take on Homer's “Odyssey” is a marvelously freewheeling journey through the Depression-era South overflowing with comic adventure, irresistible period folk music, and the kind of colorful characters only they could conjure.
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Elon Musk on hiring: Goodness of heart is important. “If somebody gets things done, I love them. It's pretty straightforward. It's not like some idiosyncratic thing. If somebody executes well, I'm a huge fan, and if they don't, I'm not. It's not about mapping to my idiosyncratic preferences, or certainly I try not to have it be mapping to my idiosyncratic preferences. I think it's a good idea to hire for talent and drive and trustworthiness. I think goodness of heart is important. I've underweighted that at one point. So are they a good person, trustworthy, smart and talented, and hardworking? If so, you can add domain knowledge, but those fundamental traits, those fundamental properties, you cannot change.” Interview with John Collison and Dwarkesh Patel, February 5, 2026
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Elon Musk on hiring: Goodness of heart is important. “If somebody gets things done, I love them. It's pretty straightforward. It's not like some idiosyncratic thing. If somebody executes well, I'm a huge fan, and if they don't, I'm not. It's not about mapping to my idiosyncratic preferences, or certainly I try not to have it be mapping to my idiosyncratic preferences. I think it's a good idea to hire for talent and drive and trustworthiness. I think goodness of heart is important. I've underweighted that at one point. So are they a good person, trustworthy, smart and talented, and hardworking? If so, you can add domain knowledge, but those fundamental traits, those fundamental properties, you cannot change.” Interview with John Collison and Dwarkesh Patel, February 5, 2026

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Gillie Da Kid responds after NBA YoungBoy mentioned his late son in a new snippet: "I'm an old school n***a. We don't say what we was going to do on the internet and all that type of sh*t. That's kid sh*t. Like if you were going to do something, you would've done it." "I don't feel no type of way. You can't make me feel no type of way mentioning my son."
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Gillie Da Kid responds after NBA YoungBoy mentioned his late son in a new snippet: "I'm an old school n***a. We don't say what we was going to do on the internet and all that type of sh*t. That's kid sh*t. Like if you were going to do something, you would've done it." "I don't feel no type of way. You can't make me feel no type of way mentioning my son."

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Jean-Luc Godard on why he didn't like the movies of David Lynch: "Ah, I really don't like his style at all. Lynch's dreams only speak of him. In my opinion, in his films, there are beautiful images, from a photographic point of view, and yet the image has disappeared. On the enigma of the dream, the oneiric of life, I prefer to read Edgar Poe. I have nothing against dreams. It's part of yourself. I don't know if it should be used for making movies. What matters, I would rather say, is the derivation and observation of the world. The New Wave came from the desire to accept fiction through documentary. In my opinion, the two can only go together." ("Godard Admitted to Not Liking David Lynch’s Films", Jordan Ruimy, World of Reel, 2022) Clip from: Twin Peaks: Fire Walk with Me (1992) Director: David Lynch
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Jean-Luc Godard on why he didn't like the movies of David Lynch: "Ah, I really don't like his style at all. Lynch's dreams only speak of him. In my opinion, in his films, there are beautiful images, from a photographic point of view, and yet the image has disappeared. On the enigma of the dream, the oneiric of life, I prefer to read Edgar Poe. I have nothing against dreams. It's part of yourself. I don't know if it should be used for making movies. What matters, I would rather say, is the derivation and observation of the world. The New Wave came from the desire to accept fiction through documentary. In my opinion, the two can only go together." ("Godard Admitted to Not Liking David Lynch’s Films", Jordan Ruimy, World of Reel, 2022) Clip from: Twin Peaks: Fire Walk with Me (1992) Director: David Lynch

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"To hear what people were saying about me after 'Dune' (1984) could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead!" --- David Lynch Full Excerpt: "Interviewer: In what sounds like a developing chaos, how hard was it to keep a fresh eye on the film — despite the daily disappointments? Lynch: That’s the hardest thing there is. The closer I get to finishing a movie, the more I start projecting my fears onto it. Not only have I seen it over and over, I start seeing where I’ve made mistakes. I see my fears double-exposed with the images on the screen. And it just keeps getting worse until I can’t stand being in the editing room. I can’t see it. I just see fear and horror. And I’m, like, insane now, at the end of the film, and I’m not even acknowledging my predicament. I’m doing a mental thing to be free from it. And so I really don’t even remember finishing the film. To hear what people were saying about me after 'Dune' could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead! But because of 'The Elephant Man' (1980) they couldn’t discount me completely. If I’d just made 'Eraserhead' (1977) and 'Dune' (1984) I'd have been cooked! Dune took me off at the knees. Maybe a little higher. Interviewer: Did the necessity to compress the film give birth to the device of constantly hearing what people were thinking? Lynch: Well, a lot of it was meant to be in the film but, like, 40 per cent of it was added on to nail things that they thought people would not understand. It can be a beautiful thing — to hear thinking. It’s a nifty thing, but when it’s just for information, you smell a rat. Interviewer: There was so much material and room for development that it could have made a great TV series — like 'Twin Peaks'. Lynch: That would’ve been a great thing. You could’ve done it justice. There was a poetry to a lot of the stuff: the atmospheres, the rituals — sand. The water being saved down below in these places. And the thrill of the little water- drops, with certain sounds and a certain light. Those things are mesmerizing, but I got maybe one drop in before Dino was, you know, on me!" ('Lynch on Lynch', Edited by Chris Rodley, 1997)
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"To hear what people were saying about me after 'Dune' (1984) could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead!" --- David Lynch Full Excerpt: "Interviewer: In what sounds like a developing chaos, how hard was it to keep a fresh eye on the film — despite the daily disappointments? Lynch: That’s the hardest thing there is. The closer I get to finishing a movie, the more I start projecting my fears onto it. Not only have I seen it over and over, I start seeing where I’ve made mistakes. I see my fears double-exposed with the images on the screen. And it just keeps getting worse until I can’t stand being in the editing room. I can’t see it. I just see fear and horror. And I’m, like, insane now, at the end of the film, and I’m not even acknowledging my predicament. I’m doing a mental thing to be free from it. And so I really don’t even remember finishing the film. To hear what people were saying about me after 'Dune' could have completely destroyed my confidence and happiness, and you need to be happy to make stuff. I was almost dead. Almost dead! But because of 'The Elephant Man' (1980) they couldn’t discount me completely. If I’d just made 'Eraserhead' (1977) and 'Dune' (1984) I'd have been cooked! Dune took me off at the knees. Maybe a little higher. Interviewer: Did the necessity to compress the film give birth to the device of constantly hearing what people were thinking? Lynch: Well, a lot of it was meant to be in the film but, like, 40 per cent of it was added on to nail things that they thought people would not understand. It can be a beautiful thing — to hear thinking. It’s a nifty thing, but when it’s just for information, you smell a rat. Interviewer: There was so much material and room for development that it could have made a great TV series — like 'Twin Peaks'. Lynch: That would’ve been a great thing. You could’ve done it justice. There was a poetry to a lot of the stuff: the atmospheres, the rituals — sand. The water being saved down below in these places. And the thrill of the little water- drops, with certain sounds and a certain light. Those things are mesmerizing, but I got maybe one drop in before Dino was, you know, on me!" ('Lynch on Lynch', Edited by Chris Rodley, 1997)

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Will Ferrell reveals he brought a briefcase of fake money to his meeting with Lorne Michaels “I had read a story how Adam Sandler had done some crazy bit, had a five-minute meeting and was hired on the spot. And I thought, be free, be yourself and just be crazy” “My version of craziness was, I bought a whole bunch of fake money from a novelty store. I had a briefcase, and I was gonna let him talk and just start piling money on his desk” “I was like, ‘Lorne, we can keep talking till the cows come home, but we know what really talks: money. I’m going to stack this money up on your desk. No one’s going to know. You can take it or leave it. It’s up to you’” “Then I was going to pack up my thing and walk out. That was going to be my meeting” “I walk in there with my briefcase and the atmosphere is like: not that. What comedian walks in with a briefcase? I’ve got my little briefcase and I’m, ‘Okay, so don’t do that. Throw out my entire audition’” “Lorne was like, ‘Steve, do you have anything you want to ask?’ He’s like, ‘Nice briefcase.’ I’m like, ‘Yeah, thanks. You have no idea’”
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Will Ferrell reveals he brought a briefcase of fake money to his meeting with Lorne Michaels “I had read a story how Adam Sandler had done some crazy bit, had a five-minute meeting and was hired on the spot. And I thought, be free, be yourself and just be crazy” “My version of craziness was, I bought a whole bunch of fake money from a novelty store. I had a briefcase, and I was gonna let him talk and just start piling money on his desk” “I was like, ‘Lorne, we can keep talking till the cows come home, but we know what really talks: money. I’m going to stack this money up on your desk. No one’s going to know. You can take it or leave it. It’s up to you’” “Then I was going to pack up my thing and walk out. That was going to be my meeting” “I walk in there with my briefcase and the atmosphere is like: not that. What comedian walks in with a briefcase? I’ve got my little briefcase and I’m, ‘Okay, so don’t do that. Throw out my entire audition’” “Lorne was like, ‘Steve, do you have anything you want to ask?’ He’s like, ‘Nice briefcase.’ I’m like, ‘Yeah, thanks. You have no idea’”

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