BARTON FINK!!

I don't know if I keep noticing it because I find it a pretty odd word (it sounds like it would mean the opposite of what it means, to me), but it seems to get dropped a lot on the AV Club, to the extent where I wonder if it appeared on the office word of the day calender recently or something.

Wesley Willis is probably the best gimmick poster currently operating anywhere on the internet.

Yeah, I hope that smaller or niche bookstores will be able to survive. There's a pretty huge travel bookshop here in London that seems to be doing okay, because people like to wander round browsing travel guides and looking at maps of Tehran. But I hope regular bookshops survive in some form or another.

What  gets me is how quickly everything's moved.

Actually, their new two-parter, Appropriate Adult, is pretty great, and is probably the best thing I've seen Dominic West in since The Wire.

I come for the MLP shout-outs, I stay for the nuanced, slightly melancholy Comic Con write-ups.

God bless you, Todd VanDerWerff.

Re: the "NOTW writers had to take the job to pay the mortgage" thing, you don't just end up working at the News of the World. Any national newspaper is incredibly difficult to get onto, and you have to strive pretty hard to get a job in the newsroom of the biggest-selling paper in the English language.

British schools do not have proms. Let's put that shit to bed right now.

On the subject of that Limp Bizkit album
I found out it had a song called 'Douchebag' on it, and had to check it out. And man, it doesn't even work as a parody, because if you were going to spoof Limp Bizkit you'd actually try harder than that.

dah_sab, it's very location-based, down to particular streets and cafes. Even if Dizzee Rascal makes soundtrack-to-Ibiza-regret music now and lives in a gold-plated castle in the sky, he can still talk about being from a housing estate in East London originally.

Grime:

@evalkareebal, I think that's about right. I imagine they made noises about recompense and potential revenues when they were starting out, because they recognised the important thing was to get the labels on board, but there wasn't any money coming in, so it wasn't like they could pay that much at the time.

They have definitely screwed artists in the past, but I think that's because they haven't been making any money. Now they're pushing towards monetising it, so who knows? Doubt anyone's going to be a millionaire off Spotify plays though.

I haven't used Grooveshark, but I get the impression they're pretty similar - millions of songs, free to stream, etc.

"how i love you marshall, spittin shiny massive magnetic acrostics to fit the thrillest rhyme style ever invented (ugh yeah i'm trying not to explain his quote unquote flow in those meaningless autechre words like architectural and labyrinthine but SHIT) "

Oh man, I like Pitchfork, but whenever anyone posts up some tryhard freeform type review from the early days, it's easy to see why it gets so much flack.

I hated 25th Hour. The ending, the dialogue, the way Edward Norton's monologue seemed designed to be quoted either in part or verbatim on the livejournals of metal fans, it just seemed so cheeseball.

I don't think it's so much about the reviewers as the commenters, a lot of whome seem to have ended up in that perennial dissatisfaction loop that happens when beloved shows come back. Pet Semetary was right.