I'm more of a Triple Triad man, myself.

If you got in NMH when you were young—say you were an indie-leaning kid in high school, or someone played it for you in college—then the tendency is that ITAOTS seems to contain multitudes, that it's written in code, that it has its own intricate arcana, that it's somehow more than an album. If you come to it a little…

Chapter 4: Test Chamber 18 was my Everest. I don't know why. Too many light bridges.

Yup. Still never actually won a match. Still feels like a waste of time.

Thanks. Yeah, it's 5.6, which you can totally skip. Pretty much any level where you have to be insanely accurate or plummet to your death just makes me crazy.

What Mario game had the level where you had to jump from beetle to beetle as they flew at you through the air? That one was… taxing.

The thing about those levels was that they were just winnable enough to keep you coming back. You know, right up until the moment you rage-cracked your controller in half.

Level 2.2 of Super Ghouls and Ghosts on the SNES.

I mean, I'm just not a huge fan of the song in general, so even though they've moved away from the solo acoustic version and developed it a lot more, it still has a lot of the same stuff I didn't like to begin with. So I'm not going to be able to approach it with much objectivity.

I think most of the fans had given up hope of ever hearing a studio version, so the excitement is amplified by the shock that it even exists. Same thing with the album; the "surprise!" release strategy smartly harnesses fans' impatience and redirects it into amazement that there's suddenly a whole 11 track album to…

Exactly. Sticking at the end of the album almost makes it feel like a bonus track for the fans. And for as much as I've read about how the band has transformed the song over the years, it's still pretty much the same listen

I haven't had the chance to hear any of the live versions; I'll check them out. I wouldn't be surprised if a lot of the new material works better in a live context, too.
I have to say that while I never really got into KoL, I still admired it a great deal. It felt like a logical next step for the band. Based on some…

I feel like frontloading the album with arguably the two most approachable tracks was a mistake. After 'Daydreaming' the album sort of just drifts by until 'True Love Waits,' which has familiarity going for it, but never did much for me as a song. Sure, it's not as "difficult" as 'King of Limbs' (at least for me), but…

I mean, why would someone single out 'Let's Get It On' for hate when 'Sexual Healing' exists, being creepy and demanding sex. I mean, at the very least 'Let's Get It On' alludes to the idea that the other person should be into getting it on.

Oh, I mean, the world is a much better place with Meryn Trant dead. I'm sure if you got Jaqen H'ghar a little drunk he'd agree. But The Faceless Men only do as they're told. They're like that co-worker that everyone has who won't ever take any initiative to get anything done on their own and waits until someone makes…

Oh, true. I think I'm just grabbing at straws because I feel like we got what we wanted way too easily, and there's going to be a reckoning.

Well, what I meant in regards to The Birdcage by singling out the "foundation" scene is that it takes an external trait, in this case that Armand wears makeup, and uses it as a signifier of the character's gayness. The movie is really only concerned with what it considers the trappings of gayness—makeup, drag, erotic…

It wasn't Thoros, I don't think. But yeah, it all happened "off camera" so there's a fairly decent shot that Sandor's still out there somewhere. Now, whether he's being groomed to take on his zombie brother is another thing, but they've kind of had that face-off coming from the beginning.

I feel like being forced to hang out with Grey Worm and Missandei for five minutes must just be an endless struggle not to say something along the lines of "So, you guys have a lot of sexual tension. considering one of you's a eunuch."

I mean, I forgive The Birdcage a little because it was actually funny, but that had more to do with Nichols and May and the cast than the subject matter, which was pretty noxious. The scene where the son wipes his father's foundation on the wall is incredibly uncomfortable in two very different ways. In & Out is…