Any, erm, love for Loveage? I rediscovered it last year - still mightily sexy and camp as hell. "Lifeboat" and "Book of the Month" wrestle with Portishead's best ballads (if Portishead had a sleazeball MC).
And "Sex (I Am)" is just… heroic. 

Angel Dust was a true revelation for its time. But I'd vote for Mr. Bungle as Patton's peak. On "California" they even wrote some proper songs, albeit spazzed-out and sonically perverse. 

Well, "Stone letter" is pretty close to this notion. Not sure if rock hits can be huge anymore, though.

To my ear it's definitely better than Anonymous - I regarded that cod-Navajo parafernalia as a boring misstep. Here we got some proper power-chord-based choruses and trademark Denison's chacka-chacka suspence. On the other hand it's all been done before, more imaginatevely and with much more hooks.
I can't agree on…

I've read all Pynchon, except for Mason & Dixon and Gravity's Rainbow has been the most absorbing  experience. When I first bought it and tried to get through ten or so pages I felt quite depressed. But then I agonized for about a year over Vineland and that was cool training. I found online reader guides very helpful…

"I hurt people! BAAAAAAAH"
That Baaah was the peak of Mc Dermott's acting. Even more poignant than tearjerking.

You may check him in "Where Sleeping Dogs Lie" - an obscure but considerably weird flick with some thematic similarity to AHS, Season 1. At the very least it includes quite a memorable scene, where Tom Sizemore listens to a seriously fucked-up cassette, laughing heartily!

I have three more
insider factoids from the future:

This is an
intriguing angle, RD. I can see this whole love affair as a clever play of
stereotypes.

This is an
intriguing angle, RD. I can see this whole love affair as a clever play of
stereotypes.

Well, I meant common “silliness” of romantic kind – all this
undying love from the first sight stuff. Considering Mitchell’s knack for rapid
plot twists this arch was a bit predictable and sappy. Anyway, I think Mitchell
generally does violence better than love. There are some really gritty moments scattered
through…

Well, I meant common “silliness” of romantic kind – all this
undying love from the first sight stuff. Considering Mitchell’s knack for rapid
plot twists this arch was a bit predictable and sappy. Anyway, I think Mitchell
generally does violence better than love. There are some really gritty moments scattered
through…

"Thousand Autumns" has lots of striking scenes, it's dynamic and poetic and sheds a fare share of light on obscure historical facts, but what a silly premise! I tried but really couldn't take seriously that whole love story between the Dutch guy and the superhero midwife.

"Thousand Autumns" has lots of striking scenes, it's dynamic and poetic and sheds a fare share of light on obscure historical facts, but what a silly premise! I tried but really couldn't take seriously that whole love story between the Dutch guy and the superhero midwife.

Yeah, that oddly disfunctional family ate a generous part of the story. Though the end of their journey was rather satisfying. Still, I'd like to get more on that Mormon alchemist character - his chapters were done with almost "Blood Meridian"- level sinister richness. Adventures of the cult girl Dawn could also be…

Yeah, that oddly disfunctional family ate a generous part of the story. Though the end of their journey was rather satisfying. Still, I'd like to get more on that Mormon alchemist character - his chapters were done with almost "Blood Meridian"- level sinister richness. Adventures of the cult girl Dawn could also be…

"Blueprints of the Afterlife" by Ryan
Baudinot, definitely!

"Blueprints of the Afterlife" by Ryan
Baudinot, definitely!

Joan's immolation scene with the "ardent" car-guy seemed to me like a light version of Jennifer Connelly's visit to Big Tim character in Requiem for a Dream.
Shame she didn't say "I know they're pretty baby, but I didn't take them out for air".

Joan's immolation scene with the "ardent" car-guy seemed to me like a light version of Jennifer Connelly's visit to Big Tim character in Requiem for a Dream.
Shame she didn't say "I know they're pretty baby, but I didn't take them out for air".