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“Eulogy” is not cool, nor fast. It’s full of fears, of disappointments, of failures: the interminable car commercial shoot, with Sam’s endless variations of intonation, emphasis, gesture, expression on a single, throwaway question (“Can I drive now?”); the swift cruelties unleashed by Frankie (Hannah Alligood) and Max (Mikey Madison); the rueful remark Morris utters in that brief, pungent scene at the bar, saying “nobody could be openly gay until I was too old to have any fun.” The episode admits that much of the work, for an actor, is not glamorous—that it’s work , with all the fatigue and frustration that entails, and that those we call “character actors,” standing in the shadow of the stars, are rarely appreciated until they’re already gone. Morris’ presence, like a ghostly visitation, is a wrenching reminder that the dead don’t hear eulogies: It made me wish I’d written more, and more effusively, when he was still with us, that I’d discussed his turn as Mickey Deane in two seasons of The Comeback in the appropriate terms—as one of the most devastating comic performances of the century.

The band is primarily notable today for their perceived ineptitude at playing conventional rock music; the band was described in one Rolling Stone article as "sounding like lobotomized Trapp Family singers." [6] Terry Adams of NRBQ compared the group's melodic lines and structures to the free jazz compositions of Ornette Coleman . [7]


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