also in futurama: accurate-ish physics, definitely accurate applications of objects in a vacuum (see: godfellas, bender trying to slow himself down by throwing things in front of him), occasionally space battles that are three-dimensional, entire alien languages

it’s just such a good application of “humanity does what humanity does”, I love it

I’ll never get over how clever and well-thought-out the basic premise of Futurama is
average white guy with average job ends up in the future with the exact same average job but made to seem super cool to him and the viewer, but the future people treat it with the same blasé nature that we treat pizza delivery
and it’s also a really good example of how to make a blank slate character into 1. no longer a blank slate character (fry becomes indifferent as the rest of them to his actual job, experiences a lot of weird character development and backstory shading) and 2. a member of an ensemble cast, rather than “the star”, while still providing the audience with a blank slate in certain circumstances (planets he’s never been to before, things he hasn’t heard of, etc.)

did I watch twin peaks in a past life or something
I’ve never watched it before but I can predict lines in conversation in my head without really meaning to
like I haven’t watched enough lynch for quirk familiarity to be the reason, and I have no recollection of having seen it before (and how would I have, I was born 5 years after it premiered)
it’s not a poorly constructed or cliche-ridden script, either (obviously)
so I just don’t know
unless it’s just one of those quirks of memory/perception overlaps, like predictive dreams (dreams that lead up to an event in real world they couldn’t have possibly known would happen)

people always think that when music fans go off on pitchfork’s pretension that we’re exaggerating, having only read their more recent reviews
then they come across a review from 2003
(pitchfork has really mellowed. it’s still ridiculous but it has really fucking mellowed)


If you haven’t read Pitchfork’s 2003 review of U2: The Best of 1990-2000 you really owe it to yourself to do so. Over the course of the review’s 1500 words, author William Bowers

  • Explains that the site’s glowing reviews of The Eminem Show and Source Tags & Codes were the result of Pitchfork senior editor Ryan Schreiber accepting bribes from Interscope
  • Uses KFC and AIDS in the same sentence
  • Creates no less than four hypothetical U2 compilations, including When There Were Only Two Sets of Footprints, That’s When the Rhythm Section Was Carrying Us
  • Writes an original limerick comparing most of U2’s 90s output to human excrement, to be sung by fictional sixth grade children
  • Dismisses Christmas as a scam
  • Describes Martin Scorsese’s 2002 film Gangs of New York as an “ambitious film about a magician’s rivalry with a younger version of the cowardly lion of Oz for the heart of a transvestite, set against the backdrop of the riots that almost destroyed the Muppet Christmas Carol soundstage”
  • Ponders on the exclusion of bassist Adam Clayton’s solo cover of the James Bond theme
  • Describes the band’s hit 1993 single “One” as the soundtrack to “white people in their apartments clutching wine glasses, unbuttoning the top button of Gap shirts and giving each other come-hither looks”
  • Concedes that U2’s bombast is at least capable of the ability to “transform quarter-beer night at the bowling alley into a precipice of gladiatorial triumph”
  • Sums up the collection’s content as “piffle”

(via tramampoline)

hold on, what

hold on, what

a music video based on rejecting one-take music videos:
(either making intentionally impossible cuts in a supposedly one-take video or doing a locked camera tracking shot a bunch of times and editing it together so there’s a bunch of cuts in one smooth motion)

a music video based on double subversion of expectation:
(for instance: puts gun to head, pulls trigger, blood splashes on the wall behind them; track back to reveal the blood’s just paint someone threw on a wall further back, then track around to the side of the head and there’s a realistic bullet exit wound)

a music video based on playing with the concept of backup dancers as living props:
(me and bandmates in skimpy outfits not moving lips at all while some boring, lanky, scraggly-bearded white dude lip syncs, in order to completely redirect the focus of the video)

it took me 4 fucking years to start listening to MIKA
and I want to apologize to the person who first told me about them because I accidentally broke the mix CD they gave me back then

seriously tho. why Lady Gaga, why not MIKA

and i poured my heart out/it evaporated, see?