You raise a good point. I think what would be fairer is that Anderson’s films share in common with hipsters an emphasis on the tactile and the material. Hipsters, for better or for worse, are noted for their love of the tangible, be it polaroids or vinyl records. They strive for a certain authenticity in their lives…

rushmore is my favorite film of all time. i went to music box a few years ago to watch listen up phillip where jason did  a QnA afterwards. He then stepped outside for people to take pics and ask questions which I did. He could not have been a nicer fellow.

I hope that Owen Wilson and Wes Anderson collaborate on another screenplay. I have loved Anderson’s recent output, but there’s something about Rushmore and The Royal Tenenbaums which make them hold a special place in my heart. It’s hard to pin down exactly what it is, but I guess there’s a more visceral emotionalism…

I think a lot of this is why, despite Anderson seen as being on the wrong side of the cultural debates by some critics, largely because his films are INTENSLY WHITE, I think he gets away with it because his films recognize, and revel, in the privelige and awfulness of his characters.  Rushmore and The Royal Tenenbaums…

Making a movie about a thing a guy did isn’t even an endorsement of the thing. It’s a movie, it’s supposed to be an interesting story, that’s all.  

I was about to say “...in the age of Red Letter Media, How it Should Have Ended, etc”.  

This isn’t a valid critique of BlacKkKlansman. It sounds like Riley wanted Lee to make a movie about something other than what Lee made a movie about, but a critique should be focused on the story a movie is trying to tell, not what you wish it was about instead.

“It’s a damning assessment on the whole, going so far as to end on a note in which Riley draws links between Lee’s film and a paid advertising campaign he did for the NYPD a few years back.”

“Riley asserts that Stallworth and his colleagues in the FBI’s Counter Intelligence Office spent far more time trying to bring down black radical groups than they ever did screwing with the KKK.’

Making a movie about a good, cool thing a guy did isn’t an endorsement of everything the guy’s employer ever did. That seems like an unreasonable, unsustainable standard.

That sucks. The Joel McHale Show, or The Soup: Redux, is some of the best mindless entertainment around. Is Yahoo! Screen still around?

Ugh. I watched both of these religiously. 

Ah well. Neither one was essential, but Joel McHale made me laugh and The Break very much did not, so it’s the one I’m sad to see go.

Well that sucks, more so for McHale since I found that had it’s own distinct flavour whereas Wolf is just another show in the din of political comedy but that’s just me.

This is bullshit. I was looking forward to the Joel McHale show building up years of episodes to watch, like the soup did.

Damn. I loved “The Soup” and was hoping it would continue on in Joel’s current show.  Maybe on another platform? I dunno..

Which will probably cost approximately 500x the cost of a season of The Joel McHale Show (that’s not even me exaggerating for emphasis, that’s my literal guess).

Billy Preston: “She can be hiding out in her house in Detroit for years. She can go decades without taking a plane or flying off to Europe. She can cancel half her gigs and infuriate every producer and promoter in the country. She can sing all kinds of jive-ass songs that are beneath her. She can go into her diva act…

Yeah that’s generally how I feel about Animal Collective, too.

Damn, shouldn’t watch that so early, haven’t had coffee yet and now I have to redo my makeup.