This Must Be the Place.
At least he didn't set it to "Paper."

*Disapproving chorus*

Deeper and Deepa.

*Has a seat on a pile of rotting dog carcasses and empty bags of Funyuns*

They were, but "Clint Eastwood" came out in spring and simply dominated airwaves for the next 6-8 months. 9/11 is the day Blueprint and "Love and Theft" came out, so there was at least some great shit to listen to through the period of deep existential dread.

Have you seen Shrek? Then you've sat through that whole abortion of a cover. Also, what, exactly, is Beyonce's jelly? Strawberry-flavored lube? Vaginal juice? Diarrhea? It's a question whose possible implications boggle the mind.

She could just get fat and crazy like D'Angelo or pregnant and crazy like Lauryn Hill.

Plastic Beach is, in my opinion, a masterpiece. I haven't listened to Parklife many times, but as of right now I think Plastic Beach is the best record Albarn has put out. "Stylo" and "On Melancholy Hill" are two of the best pop songs I've ever heard. "Empire Ants" is great, too (and as good a reason as any to check…

This is my pick for #2 in the strongest year of music I've ever lived through.

"Clint Eastwood."
Who would have thought that from this magnificent fluke hit would grow one of the most consistent and exciting musical projects of the last ten years? If anything, Gorillaz sound more interesting and original today than they did a decade ago, and has possibly superseded Blur in the public's and…

These have been the best official write-ups on the web by far. And the best comments section. Kudos to all. This site has made the series far more engaging than it could have been otherwise.

And flashing remains illegal in most states.

The fuselage washed out to sea in s1. Was it another plane summoned by Hurley to perpetuate the cycle? Some later protector? The original plane? There was a pile of what looked like clothes on the ground. CURSE YOU, ENDLESS FOUNT OF COMPELLING MYSTERY!

The Wire had its own plot holes and inconsistencies. They were simply fewer in number and less glaring than some of LOST's. And while The Wire strove toward and achieved a greater standard of realism, that doesn't make it necessarily better; realism doesn't always equal quality.

I didn't say the show didn't have plot holes (How did Radzinsky know all the stuff on that blast door map again?), I said that the things people seem most upset about or consider most critically unresolved aren't plot holes. They're potential plot holes that could easily be plugged. And that makes them fodder for…

Jack died to save the people he loved. He saw them leaving The island as he died. He wasn't alone.

Well, Tossin, once the characters understood the actual stakes, they did all come together to help one another, and they went out of their way to help one another escape. I won't say, "Live together; die alone," though, because I'll get punched in the face.

Isn't myth a kind of mystery? The sublime is, by its very nature, inconceivable. LOST turned out to be about people confronting mysteries that are greater than our capacity to comprehend them.

I think that The Light is a malleable enough concept that it can explain any number of mysteries left open by the end of the series. The more obvious holes- What happened at the cabin, exactly?- aren't exactly plot holes in the most traditional sense; it's very possible that some further information could explain…

Ben wheedled Hurley into calling little Annie, now a middle-aged crack whore, back to The Island, and spent the remainder of her life bartering access to The Light for sex.