I loved her turn on Bojack Horseman, too.

They bought a house off the Danforth? Guess they got that million dollars after all.

I was a huge fan of the British series as a kid (Anglophile parents), so I'm sure that didn't help. I remember Sean Connery having fun in a scene-chewing way, though.

Recently my friend ran into Daniel Lanois at a party and texted me about it. I told him to ask Lanois how it was working for Ol' Sourpuss, Brian Eno. My friend refused and now the world will never know.

Nice to read a solid, positive review of her work. I'm a big fan of Laura Marling, and everything she's put out lately has been very encouraging. Excited to hear this.

It's definitely been a while since I've seen it, but I thought The Avengers was just atrociously bad. Nothing worked 100%, Uma Thurman was awful, and it seemed like the movie had been awkwardly recut into something barely coherent.

Yes, if all music is written out by its original artist in an agreed upon, unified form of notation. Which a lot of pop music, surprise, isn't. So it gets more nebulous from there.

His slick, smooth southern California sound is the soundtrack for history's greatest atrocities!

Thank goodness. Hannibal's already pulled the "so-and-so is improbably alive!" thing so many times I don't know if I could deal with it again.

Yes, in classical music theory — jazz musicians tend to use modulation to mean a temporary switch in harmony (like how tunes like All The Things You Are move from tonal centre to tonal centre but return to the original key) while a key change is the same melodic/harmonic material transposed (as in: we have a new I…

Jeez, slam on Jackson Browne out of nowhere there.

It's also a topic of some debate in the music community. You get the modulation vs key change thing, but then you've got people defining the terms in different ways.

Golden Lady by Stevie Wonder has these awesome half-step ascending key changes throughout, it's awesome to hear how he handles every new key in a unique vocal way.

I don't know! I like Gabriel-era Genesis a lot (Selling England by the Pound is awesome, and I really like half of The Lamb Lies Down on Broadway), plus once they lost Gabriel's theatricality the prog-rock stuff didn't work as well. Collins just seemed like a decent sort of chap, certainly not an art-rock provacteur.…

It's not a key change but a modulation, but I love the moment in The Warmth of The Sun by The Beach Boys that moves from C Major to A Major from the verse to chorus (plus a short sojourn to Eb in the verses). It works so well to lead the bouncy, sweet, almost doo wop-y melody of the verses down into a gloriously sunny…

Yeah, it's a good bit. I can't believe that first one is serious though, it's comically inept.

I mean, I know it's unwise to judge a show based on a single, dialogue-free promo…but what the fuck was that?

I dunno, "Scream Queens" seems pretty unwieldy as a title. Could we get rid of the second word and still have it work as a horror-comedy?

I'll provide a counterpoint: I thought it was pretty good! It's an oddly gorgeous film (and I don't just mean Mads and Eva Green) with strong central performances that override some of the film's narrative deficiencies.

I.V. knocks it out the park again and again and again, whether it's his film reviews or any article he's contributed to the site. He may be my favorite film writer working now.