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" ... Aesthetically, episode 8 would leave a powerful impression on even the most haphazard of David Lynch converts. A hallucinatory, nightmarishly kaleidoscopic consortium of images of blood, flames, fluids, and demonic figures spews towards the viewer while Krystof Pendrecki’s tortuously atmospheric soundscapes underline the episode’s inescapable atmosphere of existential dread. Episode 8 is an hour long work of experimental video art, no doubt. But if you have been paying attention to this season of Twin Peaks and you know enough about the mythology of the show and know even more about Lynch’s artistic interests and visual touchstones, then you know that this episode was no mere act of meaningless artistic overindulgence. In fact, this was Lynch telling the origin story that set the entire series of Twin Peaks into place. This was the origin story of BOB, the demonic force that forced Leland Palmer to rape his daughter for years and eventually murder her in Twin Peaks’ initial 1990s run. BOB, we learn in episode 8, was forged from the United States' earliest forays into nuclear bomb testing. BOB was already the perfect metaphor for mankind’s capacity for cruelty, depravity and evil, and becomes an even more powerful metaphor now that we know his nuclear genesis. Any Lynchian fanatic will rave to you how delicious this notion is. What David Lynch has done, and in many ways has always been trying to do, is to create a piece of pure atmospheric video art that also works as a classic piece of narrative storytelling. In this episode, Lynch has perfectly located a zone in which vague and aesthetically menacing imagery also serve as clear and precise storytelling and, like the best cinema and storytelling, illustrates a metaphor for modern human existence. While Eraserhead, Mulholland Drive Inland Empire, Lost Highway and Blue Velvet utilize video art aesthetics, they are also pieces of storytelling with easily identifiable stories if you look for them (well, maybe not Inland Empire). Episode 8 of the return of Twin Peaks is a mostly dialog-less piece of distorted, haunting images. It is art. But it also still tells a story. The story of a television series no less! This is all the more impressive in that television as a storytelling medium is the most reliant on expository dialog and over-crammed storyboarding. David Lynch pays heed to the form while mainly utilizing the language of pure image. Who needs a script, and who needs dialog, when you can see that delectably menacing, fascinating and torturous world of Twin Peaks from inside the actual head of David Lynch? Episode 8 was the truest portal to the imagination of Lynch that has yet been put to screen. ... "
" ... The downside would be making copies of a potentially devilish or evildoer mind, which keeps me up at night, nightmarishly envisioning a hundred copies of some dastardly mind that might be surge-powered to come up with ways to completely rule or ruin mankind. ... "