Sequences like this are the lightest portions of the film, and the least satisfying.
(The show is often at its best in huge sequences like this, from a hip L.A. music-scene pool party to a Yom Kippur breakfast).
The show is full of gorgeous, ridiculous sequences like this, scored to lush pop: Douglas Sirk for the age of Botox.
Sequences like this are so moodily elegant, evoking the fragility of perception, that they elevate the show's more familiar musings, especially Elliott's perseverations on the brainwashed basics who surround him.
Sequences like this are not only successful because they are so beautifully created but also because they often come at a point in a film where you begin to realise where it's going, you think, "oh my god, I know what this is about".
The famous scene in the film Up! recapping Carl and Ellie's marriage set a high bar for sequences like this and – while this doesn't quite hit that level – it possesses a fair degree of the same magic and has been racking up confessions of tearfulness in the comments on YouTube.
Sequencing like this was difficult because marketing team would have to monitor for those milestones to be reached, then manually rotate our apps and publish updates.
For static sequences like this, transmission errors attract the viewer's attention easily, and the objective metrics studied here apparently fail to capture this effect.
Its interesting to consider sequences like this as a sort of collective team effort, deliberated and worked through by the director and stunt specialist as well as the actors performing them.
The ensuing sequence, like the film, is long, tense and surprisingly wordless.
