A former schoolmate of mine deliberately replaces Gs with Qs in all of her Facebook "musings." She's not a gimmick poster on the A.V. Club. She's a gimmick poster in real life. How does that make you feel?

I wish I can take the money donated to this and give it to Bootsy Collins' I Give a Funk groovement, baba.

I often feel that way about the words "self-indulgent" and "cheesy." Both usually say more about the appraiser's understanding (or refusal to understand) a given work than the quality of the work itself.

While not from a Mexican heritage, I find a lot of Nacho Libre's look and tone endearing. Nacho Libre is the one Hess movie I've seen fully, and I developed quite a soft spot for it in my youth. Not sure if it holds up, but at the very least it's a movie I bonded with my dad over. It was one of those things you and…

Well, no use in beating around the bush. I think you were just looking for a segue into discussing Big Time. Thanks for that!

I can see how some of the characterizations may appear rushed, but that ending was pure Pythonian glee.

The Last of Us's greatest gameplay achieve might be how it deliberately remedies the Nathan Drake Paradox. Everything, including its violence, belongs there.

There was a greater sense of harmony to The Last of Us that made it so wonderful. Just about everything was expertly contextualized, from its story beats to its brutal gameplay. And let's be honest here, that ending is something almost any producer in any other current mainstream media machine would have you change.…

I feel the same way Vadim does, only as a twentysomething that liked all that stuff even when his peers didn't (not trying to sound special here or anything like that). It sounds like an album perfectly tailored for me.

I was just thinking "Martyrs" would have been worse. That movie is fucked.

I think it certainly sounds like a bad dream. It's faded and sickly sounding, despite how muscular it winds up. That's probably one of my favorite aspects of the record: that sound.

I think it's appropriate that the guests are almost totally indiscernible. One of my favorite qualities of the album is that it sounds like its tumultuous inspiration. It's withering, barely strung together and sickly. But still powerful and sexy, of course. Great record.

Seriously. The song made me smile at 5 or 10 of its different moments. And this review's take-down of Williams is unwarranted. The man's a legend and was working on all cylinders here.

I think RAM absolutely nails the disco sound and spirit throughout, but it's those endless, masterful "proggy" turns — I really hate describing them as merely "proggy" — that make the album special. Honestly, I think proggy doesn't do this album's strongest tendencies justice (no offense to prog, of course). Daft Punk…

I don't know, I sort of like "Lose Yourself to Dance" more than "Get Lucky".  At the very least Pharrell sounds better on the former.

For what it's worth, I actually love the album. No trying necessary.

They were one of the first modern electronic musicians I got into during my "young child who dallies in Winmx single track downloading while not totally aware of what he's listening to or doing" period. I wound up with a random assortment of their tracks from their discography. Fast forward to 2013, and they made an…

From my childhood days listening to disco compilations to my recent findings in library music, this album has just about everything I've ever loved about music on it. Personally mind-blowing. Sort of album of the year.

Swans shows are sort of an exercise in this concept. They fucking kill it.

Yeah, White definitely loves that shit. As someone who unironically appreciates old-timey stuff, I think it's kind of cool that he's re-purposing machines like this for current use — I'd be lying to you if I said I wouldn't want to make one of those records if I ever wound up at Third Man. And honestly, White's got…