Larry Fessenden's "No Telling" and "Habit" (from the early 90's) are sort of the precursors to this type of genre, although truth be told, they're actually very good. Nowadays there are movies like Ty West's "The Innkeepers," which are all mumble and no gore. Fessenden's early films at least featured interesting…

Isn't that really Tom Ford calling modern art drywank, though? I viewed that as his criticism of that type of aesthetic, rather than simply HIS aesthetic.

Ah, but that's what made him seem all the more believable to me! Don't forget, he was 'hiding' behind the cartoon screen when he told her off- it wasn't like he was actually risking his own dignity to vent his feelings. That kind of bitter, self loathing seemed more genuine than the smarmy confidence of the Playtest…

But unlike "White Bear," there was a lot of background information provided about the main character at the beginning of the episode. We weren't just watching some stranger with amnesia dodge psychotic-looking people. There seemed to be a lot less mystery to Kenny's character, which made the ensuing events and the…

Yeah, the ending of "The Waldo Moment" was actually pretty dark. At the very least, it also presented the audience with an empathetic main character (something that cannot be said for ''Playtest'').

I respectfully disagree with any list that doesn't have "Playtest" at #13, but that's just me.

I love and appreciate the coverage the A.V. Club has given the third season, but honestly they could not be more off on their assessment of "Shut Up and Dance." Yes, it's 'deeply unpleasant.' It's also the most thought-provoking episode in the season. How is that a bad thing?

I kind of liked the bookend statements from Outer Limits- that guy's voice was creepy as hell. But yes, it doesn't really fit the Black Mirror aesthetic.

Not to upset anyone, but this premise has been visited before in an episode of "The Outer Limits" back in the late '90s titled "Hearts and Minds." I liked the pace of the Black Mirror episode more, and of course the special effects technology is much better now, so it's a bit more effective in that respect.

Erin: "I have a really shallow cervix…"
Karl (in the van): "Whoa!"

I'm a huge fan of his performance in Steve Buscemi's film "Trees Lounge."

I'm pretty late on this, but not once has the real theme of "Mr. Bevis" been suggested on this site. It's about refusing to sacrifice the elements of one's livelihood for a bigger paycheck and nicer car. Yes, he's kind of a goofy character and his desk statue is in fact racist. In the 1950's I'm sure it wasn't…

Adore contains some great songs, but the element that most sets it apart from other SP releases is also the most frustrating to me- the lack of Jimmy Chamberlin (not mentioned in the above commentary). The album sounds so contemporary because there are so very few hard-hitting, inventive drummers in today's younger…

"The New" will always be my #1. It's like their "Bohemian Rhapsody."

"Crimewaves" is a goddamn masterpiece, I've always said that, too. I feel like it's the best track that was never on "Antics," even though it's in fact a self-titled album b-side.

I think you have an interesting theory, however a small distinction must be made: suburban teens LOVED gangsta rap. It doesn't exist anymore, unfortunately.

You may very well be correct in saying that it's a grower- to be honest I haven't given it that much time. I do have a hard time believing that it's a "return to form" by any stretch when there's auto-tuned vocals and a lack of lyrical content pertaining to drinking and/or women.

You had me nodding until your assessment of "Comedown Machine," which is wildly optimistic in my view.