Last week I saw Sergei Eisenstein’s October for the first time (as part of the Gene Siskel Film Center’s monthlong Eisenstein series) the day before I attended the premiere of the new Everything Is Terrible! project, DoggieWoggiez! PoochieWoochiez! (which I wrote about here). It was one of those glorious flukes of moviegoing, in which two unrelated works combine—by way of a few shared attributes and the virtue of proximity—to create a unified lesson in film history. In this case, I saw two films guided by ramped-up, sometimes disorienting editing and a fundamental distrust of concentrated power. Considering that academic film studies have long threatened to ossify Eisenstein past the point of recognition, it may be worthwhile to follow the path recently dug by DoggieWoggiez.