Limp Bizkit. Never pretend otherwise.

Hell, even Incubus didn't stick with being RHCP rip-offs for long. By "Make Yourself" they were moving away from funk and rap-metal into space-rock post-grunge, and by "Morning View" they were firmly in the artsy indie pop/rock vein. Even their hard rock songs nowadays are more P-90 pick-ups and cranked Vox amps than…

"Lateralus" is the tightest musically for me, but I still love how "Anema" actively fucked with listeners, both with the tracks and the packaging. Tool can get probing and emotional, but I wouldn't look too deep for meanings or conspiracies. They've just been pulling an Andy Kaufman on us from the beginning.

He refers to it as his Merkin, which ties into names for his wine. Maynard's been rocking the bald head for some time now.

Maynard is the type who doesn't suffer fools lightly. If people ask him interesting questions in a respectful way, he usually gives an interesting, respectful answer.

Better he chill and make his wine rather than release a half-assed product that fucks up Tool's almost perfect discography.

Mia and Tom were fine. Not good, not great, just fine. Their problem was Jessica Chastain is such a powerhouse villain (her theater experience serves her well here) that she acts both of them off the screen. She was easily the most memorable part of the film.

And Whitmire was personally trained by Henson before his death, so he quite literally learned from the man himself.

- "Oh, Kermit? There's this lecture on astral projection on Friday…"
- "So you'd like the day off to attend it?"
- "No I'll be here. Just wanted to let you know I'll be there too."

"Audition" pulls off two things incredibly adeptly (NO SPOILERS):

Lynch, to me, is the ultimate existential horror director. His films play on subconscious fears we can't put names to. "Mulholland Drive", to me, is about unfulfilled dreams, and it ties in with the themes of Hollywood and acting and fame. It almost becomes a dark nightmare about Hollywood, which is why the last third…

Adaptations become such a pick-and-choose after a while. William Petersen is the better Graham, but Hopkins is no question the better Hannibal (at least with the films). "Manhunter" was so sparse and got rid of so much material, yet the material reintroduced in "Red Dragon" wasn't delivered well and didn't have the…

Horror, to me, is about the questions we cannot answer. Anything becomes less scary the more you can explain it. Stephen King loves to explain everything within an inch of its life. Kubrick, by contrast, provides NO answers as to what happened in "The Shining" and that makes everything more terrifying.

Maisie Williams was fantastic as always (18 years old and she can keep up with actors as experienced as Charles Dance or Capaldi), but Sam Swift's literal Gallows Humor is what made the episode for me. He's having a drink, all jokey-joke (did they allow a few minutes of stand-up before executions back in the day?),…

Yea I was mostly thinking the solo album. I even defend "Adore" to an extent. But "Machina" was a clusterfuck and "Zeitgeist" was atrocious. It was only with "Oceania" and "Monuments" (the albums that sound most like their classic material) that I took interest again.

Billy Corgan's ambition has both been his greatest strength and greatest fault. I commend him for not doing the same thing every time, but doing it at the expense of what people loved about his band in the first place did no one any favors. Doing something new is commendable, but doing something boring is unforgivable.

Moon rocks bouncing against each other in the vacuum of space at the dawn of time wrote circles around Rand.

Reminds me of Paul F. Tompkins' quote during the "How Did This Get Made" episode on "Deep Blue Sea"…

There's NO damn reason this needs to be a trilogy. Atlas Shrugged is so long-winded and didactic, you could have cut it's main points and arguments down to ONE two hour movie and arguably made it punchier. Making it three films just highlights how dull and pointless most of the prose in the original book is.

This is more direction than acting, but I loved Wes Craven's defense for doing sequels to "The Hills Have Eyes": "I was dead broke and needed to do ANY movie. I would have done 'Godzilla Goes To Paris' if they'd asked me." Can't really fault the man for that.