Well, Germany was fucked over by the rest of Europe at the end of WWI, having large portions of their pre-war land taken away and being footed with the entire continent's bill for a war that had already killed most of the young German men whose labor was supposed to pay for it. Of course, they responded to those…

This might be too easy, but the post-mission music from Hotline Miami is fucking wonderful, both the blissed out track that immediately follows the end of the mission:

Yeah, but I'm pretty sure lots of the people who go to NIN concerts would be pissed if they didn't get to hear "Closer." Not sure if Corgan's considered that, though.

Feminist bloggers see the original comic book cover used for the screencap to this article, write long thinkpieces about the "sexually threatening" nature of a picture where a male character is thrusting his junk into the camera's face.

On the other hand, playing the villain gives him more latitude for scenery-chewing.

Those friends aren't on pop-culture websites because if you think Boondock Saints was a great movie, you haven't spent much time thinking about movies.

I think it's mostly backlash from having stupid friends who put it side-by-side with Pulp Fiction. It's an okay movie, but it's also a clear case of style over substance.

Are we still perpetuating the hurtful stereotype that all Jews have tails?

I thought it seemed like Morgan really liked doing that 30 Rock storyline where Tracy Jordan realizes he can get cheap laughs by breaking, and then starts doing it all the time.

Yeah, just like how Sokka was unable to do anything against an airship full of firebenders. No bending = functionally useless, that's certainly how this show's universe works.

Nope, they said they couldn't, so they couldn't.

I liked this episode a lot, but I wonder if it didn't have a little too much point-by-point explaining. Do we really need to see the brothers explore the desert, then find the airship, then trace the airship back to the village? Likewise, why does Korra need to go to the spirit world and have a long conversation with…

Attackers were fire-benders; even if he took the air out of their lungs they could have roasted him. Taking the air out of the room extinguishes their weapons, and allows him to die in a way that doesn't entail burning to death.

In Shrek, the bad guy is eaten alive by the funny sidekick's love interest, and it's played for laughs.

I'm sure that all the remaining reviews of Monty Python's Flying Circus will follow your advice.

Yes, I totally get a Beatles vibe from that song.

Wait, so this review is claiming that "Rent I Pay," "Inside Out," and "Rainy Taxi" are just filler before the record "truly starts to kick in?" Whatever type of taste in music you need to have to believe that, I do not want it.

***SPOILERS***

Am I the only one bothered by the pejorativization of the term "MacGuffin?" In Hitchcock's movies, the MacGuffin is an asset because its thinness takes attention away from the thriller plot and redirects it to the characters. In Notorious, I get so wrapped up in the relationship between Cary Grant's and Ingrid…

Perfect song given the context, though. I damn near teared up when it came on, just because of who was listening to the tape and who gave it to him.