What happened to just breaking up with assholes? Is there really a reason this needed to be shared with the world? Yes it sounds like he was a dick! But your response could have been “yes, you’re right, you’re not the right partner for me, goodbye.”

It’s a fair point…except it’s barely reinterpreted as country (yes, I just listened to it). His voice has that country twang and I personally prefer the sparer production of the original, but mostly it’s pretty damned faithful. Which raises questions re: how we define genre, who gets to participate, etc., etc.

I think Audra might seriously think Chapman was a country singer who never got her due until a white man covered it. But that is completely bastardized since... she isn’t a country singer.

This ain’t it....

I’m puzzled by the tone of this article. Tracy Chapman is primarily a folk/blues singer, not a country singer. So it makes sense to me that she hadn’t been “honored” by country music, until recently, after a country singer did (I assume, haven’t heard it) a country rendition of her famous song Fast Car.

“But that it arrived on Comb’s cowboy heels is just kind of a bleak dose of reality.”

She’s not mad, why should you be? Are you, presumably a white woman, dictating how a black woman should feel? That’s a little racist, isn’t it?

Of course, cover songs can sometimes be better than the originals. See: All Along the Watchtower and I Will Always Love You.

Is it profoundly cool to witness Chapman receive long overdue acclaim from country radio

I don’t think this instance is a 1:1 comparison. Studios are actually asking “can we have computers write scripts instead of people?” and are actively courting writers to revise ai-written scripts.

Is it ok if I think Carol is a boring Captain Marvel in general and like Monica a lot more?

Her best role by far was as Rachel in Community and even though I won’t die on that hill, I will at least stand on it.

I’m a real comics geek and I HATED Marvel Ultimates. I also liked The Howling Commandos and Nick Fury’s whole WWII story, including the narrative need for the infinity formula. This made me resistant to MCU Nick Fury but Samuel L. Jackson made me a true believer. Figuring out now when I will watch.

Yeah, honestly I’m probably being hopelessly plebeian here, but I feel like Bill Hader is one of those guys like Nicolas Winding Refn who actually do benefit from having studios and producers tamping down on some of their tendencies and excesses. 

This was great show for a few seasons, before getting bogged down in its own self-seriousness.

I think it’s telling that, according to Hader, they wrote the first two seasons pretty much by the seat of their pants, while they had a lot more time during COVID to plan out the last two seasons. I think that’s part of the reason the first two were more intense and, strangely, made more sense to me overall— the…

Barry didn’t kill Ryan Madison. NoHo Hank and two other guys did before he could. I mean, he was going to, but it still wasn’t him.

As for this finale and last season; the whole is not equal to the sum of its parts. Imaginative and skillful direction (that might have gone TOO far) and fantastic acting from everyone. Some brilliantly written individual scenes. But overall the writing lost the plot.

They should have skipped this trend of time…

It definitely feels like they had no idea what to do with Moss post S3. Barry getting into his interrogation room only to easily escape within an episode stuck out there.

Thank god this mess is finally over.

Can we all admit that Barry was a great idea that fell apart in s3, and Hader essentially just spent all of s4 fucking with the audience for yuks? Insane cartoon logic; absurd plot holes; story threads dropped because, I dunno, guess Bill just got tired of that; and cringeworthy…