Oceania is a really good album.

The present can be very smug.

There seem to be a lot of writers on the internet who position themselves as the guardians of True Feminism. It's good to spread your message, but doesn't expecting all other progressives to fit your exact demands seem a little… totalitarian?

It's back in print, and was his best since YOU ARE THE QUARRY.

The title sounds like one of Marilyn Manson's various efforts to title his albums things that are almost DOWN ON THE UPSIDE. But I liked Morrissey's last album quite a bit, so I'm for this.

Why, because the one person in the band who ever gets interviewed is such a narcissist he constantly discredits his bandmates contributions?

I'll draw the line if I'm personally upset enough to no longer be interested in the art. That's just human. But we need to recognize that there are things about all these stars that we don't know, and some of those are things about them we might actually admire.

It isn't a good reason. But the point he/she is making is that we've cultivated an online landscape that doesn't believe in forgiveness or redemption, so never make a mistake as long as you live.

I'm pretty sure this is consciously the subject of DOLLHOUSE.

People who use the personal lives of celebrities as their prime instrument for evaluating art lack the skills to evaluate art. It's why people write think-pieces about how Kanye West or Billy Corgan have been behaving: they don't actually care about music.

Exactly. I find the narrative of Oh My God Women! kind of sexist. If you have female friends, they're just like anyone else. It isn't that interesting. It's my problem with Atomic Blonde's lack of any other distinguishing premise, too.

I don't know. I really enjoyed GIRLS TRIP, but it feels like they're releasing a half-dozen of the same movie and every time people say the same line about how it's so refreshing to see women get to do the raunchy things guys do. It's like nobody has any sense of what's new, or they're just in denial. "OMG they talk…

I like when the kid raps the themes of the movie. It was way more highbrow that the dude rapping the plot of the movie in SHE'S ALL THAT.

I watched it recently (loooved it when I was 18), and it's really enthralling, but somehow childish. It has almost a sadistic streak in how negative some of it is.

I feel Anderson and Fincher have had a similar path. They're technically stronger filmmakers now, but their '90s movies just felt more dangerous and vital.

I never really loved that album, and I'm actually IN the "Mojo" video. Though they killed it live at Coachella that year.

Or the Tomahawk record before that where Patton sings a bunch of Indigenous songs.

I haven't listened to Dead Cross, but Faith No More pretty much invented the nu metal "sound" on parts of 1995's King For a Day.

Yup. I was huge into Patton's stuff in the late '90s, but he just releases so many albums that you listen to a few times and then put away for the next ten years. That, and that the fear of non-ironic emotion in his work starts to come across as a bit sociopathic.

I do feel a lot of the discussion here is too intent on approaching Twin Peaks as some puzzle to be solved. Lynch has never been about that. Even Mulholland Drive's "solution" is overemphasized in a lot of writing trying to make it fit into drab literalist confines. It means what it feels like.