Amazon Vine Freebies – December 2016

Woops, looks like I skipped a month and posted Jan 2017 before this. Oh well, feel free to pass an eye or two over my festive haul from last yar (year).

Play-Doh My Little Pony Rainbow Dash Style Salon Playset

Rainbow Dash

Yardley London Lily of the Valley Eau de Toilette and Body Spray Christmas Gift Set 50 ml – Pack of 2

Lily Toilette

Weleda Citrus Creamy Body Wash 200ml

Creamy Citrus

Damn Fine Cherry Pie: The Unauthorised Cookbook Inspired by the TV Show Twin Peaks

Pinkie Pie

Creative iRoar Go Portable 5-Driver Weatherproof Bluetooth Speaker

Bluetooth Roar

Yardley London English Bluebell Hand Cream 100 ml

Blue Bell

Rotary Women’s Quartz Watch with Mother Of Pearl Dial Analogue Display and Blue Leather Strap LS00358/06/B

Pearl Mama

Cotswolds Dry 46 Percent Gin, 70 cl

Drunken Twat

SKIN&CO Roma Truffle Therapy Body Gommage 250 ml

Truffle Shuffle

Fuzzikins Cottontail Cottage

Fuzzy Area

myStyle Craft Dreamcatcher Jewellery

Shit Weasel

Top Ten Tuesdays – David Lynch


Greetings, Glancers! It’s been a while since my last TTT post, and as it’s October why not resume things with a director who is more than a little familiar with the darker side of life. David Lynch, for most people, is synonymous with weird – his films often dividing critics and fans due to their uncompromising dedication to non-linear, non-traditional storytelling. Some call it art, others call it shit, but most agree that his work will continue to spark debate.

Lynch’s movies have so far garnered over 10 Oscar nominations, but have yet to gain a single win, though his movies frequently appear on many ‘Best Movies Of The Year/Decade/Ever’ lists and generally feature notable or iconic performances or scenes, along with famous scores and unforgettable imagery. He has, at the time of writing, made 10 movies which is handy for today’s list as I can rank them all in order from my least favourite to my absolute favourite. As always, the numbers aren’t set in stone and may change slightly depending on my mood. Lets not wait 25 years for this gum to come back in style!



I wanted to start out by saying that this is possibly Lynch’s most divisive film… but i truth the same could be said for most films on the list. It’s one I looked forward, but one which I ultimately didn’t get. I haven’t read the source material and don’t have any sort of affinity or relationship with the story, but I loved the idea of Lynch tackling a fantasy epic – his attempt at a blockbuster. To be honest it’s a bit of a shambles and I struggled to get through it. I’m willing to give it another go as it has been years since I saw it, and many people don’t appreciate Lynch’s films upon first viewing – though in most cases it’s love at first sight for me. Dune has since gone on to be named as one of the worst movies of all time, and Lynch has pretty much distanced himself entirely from it, after saying that the Studio and Producers didn’t give him the control he needed.

Inland Empire


Lynch’s most recent feature is now 10 years old, and given the Director’s return to TV we may not see another movie from him. Hopefully that’s not the case. Inland Empire say Lynch going fully digital for the first time, but returning to old hallmarks such as the fish out of water, ambition crushing and cursing, seedy underbellies, dopplegangers, shadows, and tantalizing mysteries with creepy tangents. Laura Dern is superb as an actress who gets a part in big movie, but who life begins to unravel and seemingly merge with the plot of the movie. It’s possibly Lynch’s most dense and confusing work given that Lynch himself admitted that the writing and shooting process went almost hand in hand, rather than having a script ready before shooting. The loose structure is similar to Mulholland Drive in that the first part is mostly linear, while the second half collapses upon itself with multiple scenes tumbling over each other. The film gets more impenetrable as it progresses, but Dern’s performance gets stronger and more intense along the way, proving to be an anchor in the storm. It’s not advised to start your Lynch viewing with this one, but it’s essential nonetheless.

The Straight Story


What Lynch would amusingly call his ‘most experimental movie’, the ironically titled The Straight Story is of course Lynch’s most accessible work. Telling the true story of Alvin Straight, a WWII veteran who travels across North America on a lawnmower to visit his brother. Naturally the idea is going to put some people off watching the movie, but those people would be missing out on one of the most touching US movies of the decade a true story of heroism and the triumph of the human spirit. As you would expect, there are lots of vignettes and interesting characters met along the way, each offering something important about the human condition. With an Oscar nominated performance by Richard Farnsworth and support by Harry Dean Stanton and Sissy Spacek, this is a gentle introduction to Lynch – some of his humour and treatment of character, but in no way prepares you for his more well known work.

The Elephant Man


Lynch’s most successful feature, The Elephant Man was nominated for 8 Oscars, but somehow didn’t win anything. His other biographical tale, it recounts the life of Joseph Merrick, a man born with a horrendous deformity which meant he spent a large part of his life in a freak show. John Hurt gives possibly his best performance in the title role, alongside Anthony Hopkins, Anne Bancroft, and John Gielgud. As you would expect, the film is both tragic and hopeful, powerful and affecting, beautifully shot and with several standout moments of dialogue or incisiveness.



This is where it all began, and it would be difficult to argue against this being still Lynch’s most confusing and disturbing feature. I remember being haunted by the poster from an early age, before I knew anything about Lynch, just knowing that it would be an odd and frightening experience if I ever saw the film. Mostly financed by Lynch and his friends, the film took several years to make, and several years after release until it found its audience. None of this will be surprising to anyone who has seen the movie – what most people read as a fear of parenthood, fatherhood, isolation, commitment, family. Jack Nance stars as a young man who is left to look after his ‘child’ – a writing, lizard like creature which seems to exist just to scream and feel pain. As time passes he experiences unnerving visions and.. that’s about it really. It has to be seen to be believed, and once seen you will never forget it. It’s one of the few films which makes me genuinely uneasy and I can’t imagine anyone wanting to sit through it more than a couple of times. Why so high on my list then? Nance is brilliant as always, and the sheer creativity and audacity on show is alarming – it’s precisely because it is so difficult to watch that it is so good – it’s a calamitous nightmare, a shrieking cloud of imagery which comes closer to generating and understanding personal fear better than a hundred horror movies or books on the subject. Critical consensus on the movie is generally positive, but what is interesting is that critics are divided over whether this is his best work, to the point that nothing he made later comes close, or that his later work is much more refined and mature to the point that Eraserhead is a mere early experiment. Watch it and decide for yourself.

Blue Velvet


Famous, not least for bringing Dennis Hopper back into the limelight for good reasons, Blue Velvet is another critically acclaimed high point for Lynch – a bizarre stripping back of suburbia’s skin and an investigation of the flesh which writhes underneath. Lynch had already made a failed blockbuster with Dune, and a hit biographical drama with The Elephant Man, so wanted to make something more personal with story, character, and setting elements which were more familiar to him. What comes out is an extremely dark mystery, blending noir elements with moody jazz tones and a twisted vision of America filled with secrets and savagery. Hopper gives an extraordinary performance, the young Laura Dern and Kyle Maclachlan hold their own, and Isabella Rossellini is the most manic femme fatale you’re ever likely to see.

Lost Highway


I think Lost Highway has had a bad rap – at release it was largely dismissed. As a mystery, it is more impenetrable than Blue Velvet, there is less of an emotional connection with the audience, but I find it the more interesting film. With Lost Highway Lynch presents another warped vision of America, almost as if two separate but connected worlds which exist on both sides of a highway begin to blur and drip into one another. Where Lost Highway ‘fails’ is in it doesn’t feature a big, iconic performance. The trio of Arquette, Pullman, and Getty are very good, each evoking a bewildered, dreamy state as they struggle to understand the mystery they find themselves in. We also get notable performances from Robert Blake, Robert Loggia, and Richard Pryor – each terrifying in their own way. The story allows for many interpretations and nightmarish moments, and each viewing only serves to unlock more rooms and questions.

Mulholland Drive


I was late to the Mulholland Drive party. In fact, it was the last movie on this list I saw. I’m not sure why I’d held off for so long – unless the movie is something which really leaps out to me as something I desperately need to see, I wait for it to come to me via TV or streaming sites. Naturally I loved the film from first sight – the moody tones and textures, the assortment of scenes and characters all colliding with the central plot and offering tantalizing glimpses into something bigger. If you’re already reading this then you probably know that the film was originally supposed to be a pilot for a new TV show – hence the additional characters and plots which seem to go nowhere. Lynch is able however to weave it all together by allowing the film to disintegrate – time and space become liquid or air, and events merge together. There are memorable moments and a terrific cast – the Llorando theatre scene is a personal favourite and both Naomi Watts and Laura Harding are excellent – Lynch always seems to know how to get powerful performances from his female leads.

Fire Walk With Me


Speaking of female leads and powerful performances – do you remember when Sheryl Lee won the best Actress Oscar for her portrayal of Laura Palmer in Fire Walk With Me? No? Well, that’s because it never happened. It it will go down in history as one of the biggest shambles of the Academy’s history that wasn’t even nominated. Do these people even watch movies? There are various reasons for this – the most notable being that the film received a critical mauling in the US upon release, and many people were upset that the movie was so drastically different in tone from the TV show. Make no mistake, Fire Walk With Me is a horror movie; one of the most emotionally draining, stunningly shot, well performed horror movies of all time, but a horror movie nonetheless. Lynch gets full reign and rather than wrapping up the many cliffhangers from the show he simply explores the last week of Laura Palmer’s life and delves deeper into the dark heart of Twin Peaks than the show ever did. Make sure you have seen the show before you watch the movie though, but if you like the show be prepared to have the rug pulled from under you – there are few, if any, quirky laughs to be found here.

Wild At Heart


While we’re on the topic of Oscar omissions I always found it odd that Wild At Heart was so abandoned. I mean, Diane Ladd got a Supporting Nomination, but what about Cage, Dern, and the writing team? I’m going to be ruthless and say that Wild At Heart is Lynch’s least essential film, but easily his most entertaining and mainstream. Sure there is weirdness, but nothing that would ever put the laziest viewer off. This is Lynch doing Tarantino before that was even a thing. This is a love, sex, and violence fueled, foul-mouthed road trip of mayhem with a manic assortment of comic book characters who leap off the screen with abandon, creating a gripping, thrill ride of laughter and drama the likes of which you’ll rarely see again.It isn’t his most essential, it isn’t his best, but it’s a hell of a lot of fun and it’s one which is so easy to return to again and again.

Think I’ve got any of the above completely wrong? Let us know in the comments what your favorite Lynch films are, and if you think he has another classic up his sleeve!

Jack Nance (December 21, 1943 – December 30, 1996)

It’s easy to say that Nance had a tragic life and had much more to give, but in his 53 years he appeared in many successful and groundbreaking TV shows and movies, his performances never less than memorable, and he crafted a number of iconic, cult characters. As a big Twin Peaks fan, Nance made an impression as Pete Martell, one of the few true good guys in the series, but he will also be remembered for his roles in Eraserhead, Blue Velvet, and Colors.


Feel free to leave your thoughts and memories of Nance in the comments.

Top 10 Tuesdays – Sad TV and Movie Themes

Warning – if you don’t want to cry today, turn away now.

You all know the sound
You all know the sound

Indulge me. Grief is the great equalizer; Everyone will experience it, and all of us will hate it. We are all born, and we all die. Years from now everyone who ever knew your name will be dust, forgotten and unspoken. Yet, if we all realized the absurdity of the needless causes of grief – murder, war, hatred, then grief itself would recoil and become less of a leather-winged, human-condition encompassing wound, and instead be a mere arbitrary necessity. When we hurt, others hurt. When we kill, we kill ourselves. If we can truly empathize, then we will learn to avoid all causes of grief. If we all knew sadness every day, then there would be no more pain; if we were all depressed, maybe then we’d all be happy.

Nothing makes me so overwhelmingly sad as hearing music which evokes memories both beautiful, happy, and tragic. As much as I love listening to songs, writing songs, it’s always instrumental music from TV and movies which destroy me the most. I have deeply rooted issues with the passing of time, with not doing the things I used to do, and most importantly not being with the people I used to be with, as I suspect many of you reading this do. Listening to any of the pieces below (and many more besides) is always a heartbreaking experience for me, but it’s also cathartic – sometimes we need to scream and hurt or curl up in a ball. So, just for a change from my usual silly posts and ‘comedy-based’ musings, here are some pieces of music which are extremely important in my life, and which also happen to be some of the most beautiful, touching pieces I have ever heard – I may do a second list some time because there are so many. One final note – there will be SPOILERS below so if you haven’t completed and of the films or shows listed below, you may want to skip those entries.



I got the list down to twelve, but I couldn’t get it any lower than eleven, so here we are. Departures won the Oscar for best Foreign Film at the 2009 Academy Awards, but didn’t pick up a nomination for Best Music. Composer/God Joe Hisaishi creates a stunning soundtrack based heavily around the cello (which is an important instrument within the story), with several recurring motifs that recall several fragile moments from the film – love, grief, aging, guilt, loss are all covered in the story, and while the music evokes similar feelings it veers towards a more hopeful tone.The twinkling pianos, the swell of strings, and the lonesome cello in tracks such as Goodbye Cello, Shine Of Snow 1 and 2, and in the best example Beautiful Dead 1 and 2 tend to make me feel warm inside, but when watched alongside the movie never fail to cause tears to well up. Like most, if not all of the pieces on this list, they work perfectly as wonderful standalone pieces, but are all the more powerful if you’ve seen the movie/show. Here’s a link to Beautiful Dead 1:


People forget what a poignant show (and movie) Airwolf was. Lumped in with other successful action shows of the 80s such as Knightrider, The A-Team, Streethawk, etc it by far had the most heart and depth of storytelling. It’s a show about a man who believes that everyone he ever gets close too emotionally will die, and the series seems to suggest it’s all true – his parents died when he was young, his first real girlfriend died in a car crash, and then he lost his brother in Vietnam (MIA). The movie shows Stringfellow as a tragic figure, capable only of distancing himself from people and sometimes serenading the local wildlife from his cabin in the middle of nowhere, but when he falls for Gabrielle we know it isn’t going to end well. Sylvester Levay wrote the kick-ass theme music we all know, but he also created Gabrielle’s Theme, a piece so sad that it doesn’t even need us to remember her final scenes and death. It’s a piece that will strike a chord with anyone who has ever lost someone they love – it’s incredibly simple, short, and while many will balk at the synth original, if you can find yourself an orchestral version you’ll spend the rest of the day looking for hugs. Here’s a decent version: 

The Simpsons


Jesus, just reading the comments on the YouTube videos for this post is hurting me. A few of you may be thinking ‘when was The Simpsons ever emotional, but any hardcore fans will know the piece of music I’m about to talk about – one so tender and simple and fitting to the episode it ends. I have a looping of this track on as I write, but I have to keep stopping to think, remember, or wipe away a tear. It’s the specially written end credits for the episode Mother Simpson where Homer finally gets his mother back, only to lose her again. The episode explains much of Homer’s childlike character, and that final shot of him sitting on his car watching the stars while this music plays is one of the all time great Simpsons moments – it’s all the more tragic now that the show has become so butchered over the last decade and more that moments like this are forgotten. If the show had ended here, it would have gone down in history as one of the finest Television endings:

James Bond


I’ll cheat a little here and include a few entries from a few films. I’ve always maintained (I may be the only one) that 007 is a tragic figure, not the misogynist killer, womanizing sociopath many think he is. There are a few moments throughout the Bond canon which highlight the fact that he wants to quit, to put it all away and think about himself and the person he loves, but the nature of his work and life will never allow him any stability or lasting relationship. My favourite Bond films feature these moments – For Your Eyes Only, Goldeneye, You Only Live Twice, Casino Royale to name a few. In Goldeneye we see this revelation quite clearly, with Eric Serra’s aptly named That’s What Keeps You Alone – named after Natalya’s response to James’s stoic ‘That’s what keeps me alive’. For a film that has a lot of metallic and industrial sounds in its soundtrack, this piece is a standout, shocking in its richness. Haunting in its honesty rather than any sentimental soaring of strings, it’s a brilliant, thought-provoking piece never far from my mind: (nerd bonus – I always used to listen to this in tandem with the Resident Evil 2 game end credits theme as they felt very similar to me)

Perhaps even more obvious from a tragic standpoint is Casino Royale, which sees Bond lose someone he cares deeply about, like he did previously in On Her Majesty’s Secret Service. David Arnold gives us old school Bond tones with a harder 21st Century edge, offsetting the melodic mystery of tracks like Solange with the painful piano and string hooks of Vesper and of course Death Of Vesper. This one doesn’t give me as many real life feels as others in this post, but it brings me back immediately to Vesper’s sacrifice and Bond yet again covering up his pain. When contrasted with the gorgeous City Of Lovers, those softer moments are brutal – such potential, hope, and love, crushed in a few inevitable moments.

My final Bond track is from Tomorrow Never Dies – not a film which is remembered for being all that sad, but Teri Hatcher’s character is another who pays the ultimate price for getting too close to the man we’re all supposed to want to be. The Last Goodbye, but particularly the swell in Paris And Bond (by David Arnold again) are both effectively tearjerking pieces which remind us of our own painful memories.

The Stand


King’s opus is probably my favourite book and adaptation, packed with characters you will fall in love with and whose deaths will leave a hole which will never be filled. WG Snuffy Walden’s guitar-laden, folksy, all American soundtrack is superb from start to finish, with perfect journey music – many of the tracks instantly fill my head if I am heading out for a walk when there is no-one else around, when the streets are empty. There’s that sense of swinging a bag over your shoulder and lighting out, of not looking back, but never forgetting. Moreover, we know the road ahead will be nigh-on impossible, that we, all of us as individuals, as a species, are ill-equipped to deal with what we are dealt, that there will be unforgivable, unimaginable anguish, grief upon grief, and joy so unspeakable that words become absurd – there will be a future we don’t want, we know that, but when it comes we do not give up, we do not break, we overcome, and we stand.

Twin Peaks


Twin Peaks to me has always been a show based on horror, featuring some of the most frightening and upsetting scenes I’ve ever witnessed. Much of the show is rooted in comedy and in ironically twisting the over the top sentimentality of the TV soaps of the time, but in the real moments of sadness there is frustration, sadness, anger, fear, and perhaps most of all, confusion and detachment – two feelings that most people who have not been near death for a while, or ever, overlook. When someone dies, or even when someone leaves, our actions and the actions of those around us seem bizarre and alien, ghostly and purposeless. In these moments it is utterly impossible for the person suffering, or those on the sidelines to understand the loss, because none of us truly understand mortality. Badalamenti’s jazzy score is dreamlike, airy, slow, and soft and while it pulls at the heartstrings as well as any weepie, it is the understanding of the confusion – the understanding that we cannot grasp what has happened, that makes it stand out. There is a void, a literal, sickening void, and we can do nothing about it aside from skirt the rim and vaguely feel aware that the abyss beyond is somewhere we should not be.

Conan The Barbarian


If you know me via this blog, or if you know me in reality (whatever that is) then you must be aware of my love for both Arnie, and for Conan, more specifically the Conan the Barbarian soundtrack which is so obviously the greatest movie soundtrack ever made that any argument otherwise is akin to arguing with a bullet. While Poledouris fills every scene with bombastic, thunderous epicness, he creates a number of more emotional tracks, from Funeral Pyre to The Leaving to Orphans Of Doom. I think the most impactful for me, from a darker place, is Wifeing – even though it’s the love theme of the movie, it is rent with doom and blackened with inevitability. When we all finally give ourselves up to the dust, and when Crom decides he is finished with us, it would be the utmost reward to have a piece such as this played to our memory.


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Inevitable, eh? Brad Fiedel’s score for both T1 and T2 are distinct from other movies of their period, and from each other, though both stem from an industrial, darkly technological place. While we all know and love the main themes, which deserve to top any movie music list. Instead, I’m going to pick two other pieces, a piano track from The Terminator which is arguably the track which set me out on this path at an early age, and the intro from T2, the true intro. Yes yes yes, the piano track is basically the main theme readjusted for piano, and yes yes yes it’s a sex scene, but it’s essentially the reason for the story existing – a love story and a story of survival, survival of a couple who barely know each other but are already deeply in love, and the survival of our species. The way the track, and the scene start out, with Reese admitting his feelings (a struggle for a man who only knows pain and death), the realisation that he travelled through time to be with Sarah, and the soft, single piano notes slowing morphing, liquid metal like into melodies, until Sarah joins Reese by the window as the familiar theme comes into view and they tumble into pain. Sometimes I think I’ve never heard a more perfect piece of music, especially when played to that scene. It hurts every single time I hear it, and my love of it only grows.

My pick from T2 is difficult to describe and difficult to find as it doesn’t appear on the movie soundtrack. In the link below it starts at around 23 seconds. When I say it’s the intro scene, people will likely think of Sarah’s monologue over the future war scene, before the glorious, fire-scorched title sequence begins (God, even typing that makes me want to scream ‘T2 is the best film ever’ and watch it again). That’s not what I’m talking about – before that, the very first scene, of traffic heading in and out of LA, and kids playing on swings – it’s roughly 30 seconds long, and the music takes up slightly less than that. The music is basically six notes, and can barely be called music, but it is awesome – I must have listened to it hundreds of times, and watched those 30 seconds over and over, to the point that I often see those cars when I close my eyes. It seems like a throwaway scene, but to me it conveys a billion feelings – one of which is the loss of civilization and humanity. There’s something more otherworldly about those cars than there is in the juxtaposed image of a skeleton sitting in a nuked shell of a car which comes moments later. The message is obvious, showing the before and after effects of war, but it may be the most poignant example of this ever filmed, and those dreadful, plodding six notes, are so dark and bleak that Fiedel and Cameron seem to be saying that there’s no hope for us. Obviously the rest of the film is one big hope-fest, but that opening minute or so it absolutely crushing to me. When that scene eventually merges with the title sequence, I get shivers every time.


The Incredible Hulk

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No list such as this would be complete without The Lonely Man by Joe Harnell, possibly the SADDEST piece of music ever written. Now, I’ve loved this theme my whole life, long before Family Guy ripped the arse out of it. The original Hulk series and the accompanying movies with Bill Bixby and Lou Ferrigno were a massive part of my childhood, and I already have my girls watching them (they may call it ‘Greenboy’ instead of ‘The Incredible Hulk’ but they get it). Hulk will always be David Banner to me, and Banner will always be Bixby. This piece is so haunting and soul-rending that only a crab would fail to tear-up while listening to it. It’s all the more effective now, knowing about Bixby’s life and feeding your own experiences into the notes; it isn’t just about a man who can never possibly fit in, and will never be able to love or escape his demon, but it’s about all of us, the roads we travel, and the people we must leave behind whether we choose to or not.



Shannon. Boone. Ana Lucia. Charlie. Locke. Rousseau. Alex. Michael. Daniel. Juliet. Sayid. Sun. Jin. Jack. Repeat those names while listening to Life And Death by Michael Giacchino. Remember what they did, the good and the bad. Remember the smiles they gave each other and the ones you unashamedly gave in response. Replace those names with the friends and family you lost. Never forget. This track, and its variations are all extremely evocative for those who watched the show from start to finish, but as a standalone piece of music it blends all of the feelings and responses we endure from the point of life slipping away, through all of the memories and the shock, and finally into the acceptance and acquiescence where the pain is never dulled but where we may learn to smile on occasion rather than hollow ourselves.


Throughout his run on Buffy The Vampire Slayer, Christophe Beck wove some spectacular music to chart the battlefield of adolescence and the tribulations of adulthood. Each episode is packed with music, incidental and otherwise, and while most of the music showcases and enhances the comedic and action scenes, it is his reflective and emotional creations which do the most damage. In Season 2, the Buffy and Angel love theme would pop up infrequently during a particularly romantic moment, always sounding haunting and in hindsight so gut-churning that it’s a wonder none of us knew at that point that so much would end in heartache. Once it gets the full rendition as Close Your Eyes in the Season Finale, anyone who isn’t a quivering mess on the floor must have fallen asleep during I, Robot…You, Jane and never emerged again. But before we get there, lets recall some of the other tracks which I listen to at least once a week as a punishment and cleansing. Waking Willow ( appears in the Season 2 Finale (possibly the greatest two-parter in TV history) and is strong enough on its own to be the main tearjerker theme for any series with its lilting piano seguing into string middle. Move immediately from that to Remembering Jenny ( I lose all power to type until the track has ended. It’s such a simple piece, made all the better (worse?) by the fact that Anthony Head provides the male vocals. It’s the sound of a funeral, the funeral of a life stolen, with all the bitterness and hopelessness one would assume to find. I’ve always said that, had Buffy ended at The Gift then it would have been a perfect, apt place to finish. Then again I’ve said the same about Graduation Day. Sacrifice (, which sees the return of Christophe Beck, closes the final episode of Season 5 (again I’ve listened to it twice already while trying to type this) is a flawless piece of music and another flawless example of how music can mirror and enhance what is happening on-screen as Buffy gives a final speech, hugs her sister goodbye, and leaps to her death to save the world.

But back to Season 2’s Close Your Eyes ( My words to describe my feelings for this are futile. Is it the best piece of instrumental music I’ve ever heard? Probably. Does it reduce me to tears at the slightest provocation? Yes. It will always kill me and I’ll always come back for more. All of the many dark moments in this silly thing we call entertainment I recall with this track in my mind, and many of dark moments I’ve experienced in reality are sombered (unborn words are the best), purified, increased, and beaten back by it. It’s a piece that deserves to be heard by millions more than those who know it, but it is of course best experienced by watching Buffy to get the full impact.


Let us know in the comments below which pieces of instrumental music break your heart, and which tracks have brought you through tough times. Remember folks, the hardest thing in this world is to live in it. Be brave. Live. For me.

Catherine E. Coulson – (October 22, 1943 – September 28, 2015)

Last year Twin Peaks fans rejoiced when, after 25 years, it was announced that the show would be coming back for a new series featuring the same cast, writers, directors from the original show. Catherine Coulson was one of those confirmed to be returning, her character The Log Lady one of the most beloved and enigmatic on the show. This week however, Coulson passed away after a battle with Cancer. Coulson had been a mainstay in the works of David Lynch, starting out assisting in Eraserhead and marrying it’s star Jack Nance. Coulson appeared in stage work with her local Shakespeare Company and although her screen resume is small, it certainly had an impact on me and millions of others.


Feel free to leave your thoughts and memories of Coulson in the comments below.