That ascribes to the current White House staff a significantly greater sense of dignity and/or self-preservation than demonstrated thus far.

You may want to correct your post: the X-months pre-expiration rule is not limited to European countries.

I assumed I’d watch via the magic of CSPAN: guaranteed entertainment *and* personal safety.

“WTF” did ok, as I recall (also huge Missy fan, + used to work in music, but my memory of chart stats can be iffy), but folks expected a full album to drop, and that’s still a work in progress, over a year later. Her proper last record is 12 years old, which blows my mind. Come to think of it, “I’m Better” came and…

Hot take, I know, but haters gonna hate. You can love both Cardi B and the Beatles; I do.

Can’t they settle this with pistols at dawn? 10/10 would watch.

Eh... I don’t think mentioning the Beatles in this context takes anything away from Cardi, or from Ashanti for that matter.

Wait, who are these people who can’t enjoy Missy’s music?

What you need to fully round it out is to watch “Lost in Austen,” if you haven’t already.

To be fair, though, that’s exactly what Ashanti’s Billboard record looks like - one solo hit, and two tracks by others (Fat Joe, Ja Rule) where she’s featured.

In her case, the image was already there, before Bodak Yellow dropped - huge social media following, and she actually had the personality to back it up.

It’s a Steinbeck quote, or, rather, a Steinbeck mis-quote.

I prayed for the death of Heather Chandler many times and I felt bad everytime I did it but I kept doing it anyway. Now I know you understood everything. Praise Jesus, hallelujah.

As that nice Roy Moore spokeslady pointed out, there’s a whole group of non-accusers out there!

Right?! Surely, around these here parts, Crumb and Ghost World came first. #ifeellikeimtakingcrazypills

Comment twin. I should have scrolled down first, instead of giving free reign to itchy fingers.

I thought that was Ron Mael for a moment.

Plus, the very rich generally socialise with the other very rich, which renders the goal of making wealth “socially uncomfortable” rather unreachable.

Incidentally, when Allen mined the classics for material (Blue Jasmine / Streetcar and Match Point / An American Tragedy), there was absolutely no acknowledgement by him of the source material.

This, so very many times. At least the early Allen films (which also have the benefit of being made before the fully blossomed creepiness set in) - Zelig, Bananas, Everything You’ve Always Wanted... etc. - are not formulaic. But, starting with Manhattan (or thereabouts), it’s the same couple of stories over and over,…