Lemon Crush fan, myself. It's the weirdest song to want to put on the Batman soundtrack.

I kind of want more Avatar movies. I didn't think the first movie felt like the "first movie" in a series, so I'm curious what he plans to do with it. I also feel Avatar (which was only great as a physical/visual big screen experience) has gone from venerated to discarded so quickly that it's now a bit underrated.

It's because mainstream culture has been made aware of whitewashing now, and in 2004 (when the indie movement actually was oppressively hegemonic), most of them didn't notice. The movie is fairly solid, and always has been, but it feels older than a lot of movies which are decades older than it is.

This was the musical era during my lifetime that I understood the least. But then I had sex with an ex-girlfriend to "New Slang" and… it was kinda nice.

Unfriending someone on Facebook is the meanest legal thing you can do to a person, and means that if the Purge were real, you would murder them. Unfollowing someone on Twitter only means you wish they would commit suicide.

Things are weird right now. Being on social media all day makes people angry, and they respond by thinking it's okay to turn into Judge Dredd. Then you have people repeating shit they heard like, "There's no such thing as false accusations." And it's hard to even respond to that, because whoever you're talking to…

For all I know, Casey Affleck may be a terrible person. But isn't the award for how he acts in a movie, and not how he acts outside of it?

You're missing Spielberg's War of the Worlds and Munich, Sheridan's In America, Lee's Bamboozled, and Moodysson's Lilya 4-Ever.

They need to have a comedic scene where he starts singing the song, and the uptight person next to him in the car finally joins in for the chorus, and it gets big laughs and audience recognition.

I saw it in the theatre, too. On a school night with my dad (because it was rated-R). I miss the genre-filmmaker Kathryn Bigelow.

It's one of the best American scifi movies of recent decades. The handling of the race-relations/police brutality element was ahead of the times then, and still is.

I agree with his sentiments. The problem is Reznor is exactly the definition of an artist who's afraid to branch out from his "sound."

He's correct until the point he makes in the last three sentences, which is irrelevant.

Yeah, but there's an exact opposite to this personality as well. Both sides have made the internet awful.

Of more recent stuff, I recommend Jeff VanderMeer's AREA X series. The first book is going to be a movie by the director of EX-MACHINA this year. I'm also reading NK Jemisin's THE BROKEN EARTH series right now, and find it really imaginative and socially aware (though it's maybe more in the fantasy realm than scifi).

Yeah, and I'm also in part saying this because many Murakami readers I encounter don't read much groundbreaking scifi/fantasy. They like the respectability of Murakami's literary pedigree, segregated from those genre labels.

Yeah, Three Moments was very uneven. I think there were only two stories in it I loved. And I'm glad to see someone else point out the connection between Embassytown and Arrival. I brought up that point in some discussions of the movie, but most people into movies don't read novels.

Murakami is weird fiction for normies.

I thought This Census-Taker was great, but The Last Days of New Paris (which, admittedly, taught me a lot) felt like a disorganized collection of footnotes.

So it should win the Oscar for hitting a lot of easy political bullet points? Oookay. Sorry, Ryan, you're an easy lay.