Well, I used the words "too narrow" based on Ellen Willis' description of the flaws of radical feminism in "Radical Feminism and Feminist Radicalism", where she diagnoses rigidity and narrowness of viewpoint as a general flaw of radical feminism: a rigidity that's somewhat necessary, since "To build a women's…

No, you're right—I did oversimply the actual historical incidents and debates of the feminist sex wars, and it's not as though sex-critical feminists didn't also aid in the creation of a false binary and over-simplified labeling of their opponents. (I think you're oversimplifying on the matter of sex-positive…

I question, for example, whether someone who has a legitimate question to ask of sex-positivism should really be declaring herself "sex-negative" and generally presenting as if she disagrees with it on principle.

I think there's a difference between stating that women can never give consent, and questioning how meaningful consent actually is within a power structure that limits choices. Questioning something doesn't imply that you know the answer—kind of the opposite, in fact.

I actually didn't mind Carrey as Olaf either, but the commentary was still hilarious for the director's focus on the idea of Carrey as the "real" Olaf and Handler's complete lack of interest in the idea.

If I had to place bets, I'd say the director. The DVD commentary for the film is really hilarious, because the director keeps trying to suggest that Count Olaf replaced Jim Carrey during the shoot ("It's so weird, Jim Carrey disappeared from his trailer and then this guy showed up knowing all of Count Olaf's lines!")…

That's really only true for pop songs that can't stand up to more than half a second's worth of thought.

Well, my argument is that her ability to access the traditional happy ending is in and of itself progressive, since it subverts traditional narratives of the fallen woman's rightful fate. I don't think it undermines anything—it's just progressive in a different way than the narrative that you would prefer her to have,…

If she conformed to the standards of Victorian womanhood, she wouldn't have gotten married—she'd have killed herself, rather than potentially ruin her husband by legally tying him to a known adventuress, and of course corrupting the sanctity of marriage with her unclean body and soul. Given the emphasis on female…

Velvet Goldmine is singlehandedly responsible for me discovering glam rock as an entire genre.

I think my Little Women feelings were pretty well-solidified even before the movie came out, but I can't lie—casting my childhood crush Kirsten Dunst as Amy didn't make me less defensive of Amy, and therefore of Amy/Laurie. Baby me also found Gabriel Byrne way more attractive than Christian Bale, so even the physical…

Not to mention, Jo was never into Laurie in the first place, and she raised a pretty valid point at the end that what he really wanted was to be a part of her family, more than anything else.

I regret that I have but one upvote to give.

I had completely forgotten about Mr. Boogedy until this very instant, probably because my psyche was trying to protect me.

I love Hocus Pocus and all manner of horror movies, but Garfield's Halloween Special is the only piece of media I must watch for Halloween. October just isn't over until I've seen it.

I think Kelly gets that. I don't think his subsequent efforts in sci-fi were attempts to duplicate Donnie Darko, I think that the sci-fi stuff is intertwined with the emotional details for him, for whatever reason. Whatever else you can say about Kelly, he's definitely not trying to pander to his audience.

To be fair, I don't know that "you're not funny and you have no talent" is criticism so much as it is insults.

Differing critical responses to art, sure. But if you're going to cite Vince Gilligan's intentions rather than your interpretation, it wasn't to create a morally ambiguous character driven to do evil things from good intentions. It was to create a morally ambiguous character who chooses to do evil things from…

He was, at least before Walt Jr. was born. There was that flashback during 3x13 of Walt and Skylar buying the house where it was revealed that Walt was working for Sandia Laboratories. His work was boring enough that he didn't want to brag about it, but he was also confident enough that he was going to be a huge…

Because they're afraid that if she leaves the label, signs with another label, and makes a hit record with that label, they'll look like idiots for releasing her. Tori Amos went through a similar situation with Atlantic. Thwarting her creativity isn't the point; making something they recognize as marketable is the…