I mean, this is definitely a good thing, but I so hate that this is an article on AV Club.

IANAL, but it might be a literal impossibility to defame Donald Trump.

The fact that you think the average writer lives in a freaking mansion might be the most hilariously naive thing I’ve read in ages.

Sir, this is an Arbys

I love when dummies think it’s the writers who are responsible for the same old ideas being produced when in fact it’s studios who greenlight movies and TV shows. Studios hate originality and demand rehashes because they care about profits not creativity. It was the studios that wanted a Barbie movie. It was the…

From the sound of your comment, you don’t have any new ideas or fresh viewpoints to provide.

We can remember back to before he was a racist Tory douchebag though... “In his early career he fronted one of the most important bands to come out of England in the 80's... Then died a sad old racist fuck.”

If you are asking about *solely* the 10/1992 Dylan tribute, yes, for sure - word at the time was that she was smothered in love and comfort backstage at the show by all the artists (Dylan was in his green room but reportedly sent her a letter afterwards), but got threatening looks from many of the teamster Madison…

He wrote a thing after she died about how no one supported her when she was alive, like the true warrior he is.

Morrissey makes a few good points but, as usual, can’t help but make it actually about himself and his feeling “canceled” for being a douchebag. Unlike himself, O’Connor was made a pariah for actually being correct. 

I missed it - what exactly did he do to help her?

Don’t ever become sufferable, Morrissey.

I had the same question, also being a teenager at that time. I remember it, and some public outrage, but I distinctly remember not caring about it at all personally (I am a Gen-X’er after all).

I think the lesson the media should take from this is, when Morrissey dies it will still be OK to call him a prick.

Not really, he’s just being Morrissey - twisting Sinead O’Connor’s death to fit his preferred narrative so he can lambaste the media for doing the same. “Her eyes finally closed in search of a soul she could call her own” is exactly how a twat like Morrissey would romanticize a person’s sad death.

No. He isn’t. Because it’s the most cynical thing he can do is ride on her death to elevate his own bullshit grievances about “cancel culture.”

“There’s ALSO nothing wrong with an audience wanting closure.”

A couple of issues with the framing here:

1) I can’t go so far as to say that there’s literally nothing wrong with an audience wanting closure. Closure isn’t inherent to the human experience as a thing that we always get, so wanting it is somewhat…

the point of the shot is the character doesn’t care at that point

Why would anyone even want Nolan to permanently end the ambiguity? As soon as he says “Cobb is trapped in a dream” or “Cobb made it home” (which are kind of the only two answers), there’s nothing left to discuss anymore.

Still my favorite Nolan movie by far.