★★★★☆ 對(duì)不起我沒(méi)有和你走進(jìn)那所房子相片中的它嶄新舒適;對(duì)不起我接二連三地更換工作我們肩上的債務(wù)卻并未減少;對(duì)不起我一周需要工作六天每天十余小時(shí)沙發(fā)上只有呼嚕聲;對(duì)不起我沒(méi)有控制我的情緒清脆的響聲疼痛的卻是所有人;對(duì)不起我們?cè)阱e(cuò)誤的時(shí)間成為家人而我始終沒(méi)有搞清楚什么時(shí)間是正確的;對(duì)不起天籟之音中國(guó)藏歌或許并未有對(duì)與錯(cuò)的分別我駕駛著被視作“罪魁禍?zhǔn)?的白色貨車(chē)留下“Sorry we missed you和“Love you的便簽默念著再給我們六個(gè)月;對(duì)不起道路究竟要怎樣走我不知道我只知道我說(shuō)了太多遍對(duì)不起而我和你一樣想念彼時(shí)的你卻再一次錯(cuò)過(guò)此時(shí)的你
黎明時(shí)的東方:139.214.117.63
Windom Earle as the embodied evil. BOB as the metaphysical evil. Dealing with the former makes for an embarrassing melodrama. Lynch knows the discussion of good/evil is meaningful only on a surreal level. And that's why Earle is so instantly dismissed as trivial in Lynch's Red Room. A kind of authorial revenge for the derailed episodes.