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  1. The tweet got so many likes and the countless people falling for it
  2. ‘My review hasn't aged so well’: Guardian critics on getting it wrong Daft Punk – Discovery Then Crushingly disappointing follow-up Now Arguably the most influential album of the past 20 years From the moment I heard Da Funk, I was a huge Daft Punk fan, which made their second album all the more baffling. I loved One More Time, but what the hell was the rest of it about? What was with all the cheesy 80s references? Who encouraged them to put that awful heavy metal guitar on Aerodynamic? Why did all the vocals have that ridiculous electronic effect on them? Nineteen years on, every single aspect of Discovery has been pilfered time and time again, from the glossy production style to the sound of the drums. Every vocal in pop has that electronic effect on it, which I now know is called Auto-Tune. Daft Punk were incredibly prescient: play Discovery today and it sounds utterly contemporary. My review, on the other hand, has not aged so well. Alexis Petridis Slayer Then Pointlessly twiddly cartoon doom-mongers Now The full stop at the end of metal As a teen Smiths obsessive, I had been a bit of a snob about metal’s neck-breaking, big-shorted charms. That lasted until my late 30s, when I accidentally encountered Slayer at a festival. Within moments of their first howled, blasted, faster-than-hardcore notes, I was like: “Holy mother of SATAN, this is incredible. Why did nobody tell me!?” To their credit, no one replied: “We did. You were busy with Morrissey.” By the end, I’d quite lost the run of myself, clambering over other fans in an attempt to catch a hurled drumstick. I didn’t get it and, in retrospect, I’m glad. In all honesty, I hadn’t remotely earned it. Phil Harrison Phoebe Bridgers Then Twee Gen-Z Pinterest board Now Delicate unpicker of emotionally complex relationships For a long time, I thought Phoebe Bridgers was an elaborate joke the universe was playing on me. Critics enthused about her tender, sad, beautiful music and darkly funny one-liners; all I could hear was a series of anaemic, one-note songs slathered in an off-putting veneer of irony. It didn’t help that her album Punisher, featuring lines such as “Day off in Kyoto / I got bored at the temple”, was released mid-lockdown. What were they hearing that I wasn’t? I gave up trying, until, suddenly, it clicked: the ghostly vocals slowly unravelling, the lush orchestration, the subtle melodies, the depraved poetry of the lyrics – annoyingly, exactly the kind of gently melancholy music I need these days. Kathryn Bromwich Mean Girls Then Icky high-school comedy that ends up celebrating prettiness Now Hilarious high-school comedy that delivers great laughs What was I thinking? Was I hangry? Did I need a snack? When I watched Mean Girls in 2004, scripted by Tina Fey and starring Lindsay Lohan as the shy, smart student who has to infiltrate a clique of popular classmates, I grumpily tied myself in knots trying to prove it was upholding the very body fascism it was supposed to be criticising. Long after that, due to my 30 Rock addiction, I became a Tina Fey superfan and saw the Mean Girls musical on Broadway, which was a joy. Recently I watched the film again with my wife and 16-year-old son and we all loved it. It’s just enormous fun. Lindsay Lohan and top Mean Girl Rachel McAdams are both great. I should have lightened up. Peter Bradshaw The Departed Then A bloated Marty misfire Now The last of the swaggering crime epics Initially dragged along by the riptide of goodwill for Martin Scorsese’s Boston crime drama (Scorsese! Doing another mob film! With Leo, Matt Damon and Jack Nicholson!), I recoiled on rewatching it a decade later. Nicholson’s over-ripe performance, Ray Winstone’s criminally bad Bawston accent, plot holes big enough to drive a truck full of stolen microprocessors through – this was a Marty misfire. But in a weak moment during lockdown I stuck it on, and now I’m a believer once again. No one makes these sorts of operatically overheated crime sagas any more – not even Scorsese (no, The Irishman doesn’t count) – and Damon’s clammy performance as conceited, double-crossing (closeted?) cop Sullivan, remains a career best. Gwilym Mumford La La Land Then Oscar-hungry jazz-hands blancmange Now Armour-piercing love story with bulletproof tunes Even before its accidental announcement took the shine off Moonlight’s historic best picture win at the 2017 Oscars, I found it easy to resent La La Land and its offensively attractive leads. The razzle-dazzle nods to musicals past and knowing winks to Hollywood’s cut-throat present seemed like pandering to self-involved Academy voters. But at some point that punchy soundtrack bopped its way into my brainstem, and the doomed rollercoaster romance between husky starlet Emma Stone and jazz grouch Ryan Gosling suddenly felt affecting, even relatable. So yeah, I got it wrong. No need to make a big song and dance about it. Graeme Virtue Oasis – Be Here Now Then Overlong, squidgy, coked-up mess Now Flawed masterpiece (apart from Magic Pie) “I wrote it on holiday,” Noel Gallagher has said of Oasis’s third LP. “There may have been a small amount of cocaine.” And, my, does it show: every song is a swollen tantrum of back-of-the-***-packet doggerel, pointless guitar widdlery and songs that just keep going, most lolloping in drunkenly around the six-minute mark. I used to loathe Be Here Now’s lazy, wasted opportunity to complete the perfect triptych. But time’s passage has lent it a certain black-eyed charm: beneath the static and squall the tunes are there, Noel’s nattiness with a hook undiminished. Everything on it sounds utterly enormous. And Liam’s voice has never been more pristine, more righteous. As a snapshot of 90s excess – a bygone age of pig-headed rock-star bravado – it’s a preposterous hoot. Although Magic Pie does remain total, irredeemable codswallop. Luke Holland Madonna – American Life Then A heavy-handed, “wake up sheeple!” political awakening Now A brilliantly odd peek behind fame’s velvet rope Madonna’s ninth album, a dissection of the American dream in light of 9/11 and the buildup to the Iraq war, was hard to love upon its 2003 release. The title track and lead single was hampered by that rap, in which coffee enemas mingled with shoutouts to her Mini Cooper. But beneath the “money and fame don’t make you happy, guys” sloganeering, American Life offers us a tantalising glimpse at the “real”, unadorned Madonna. The gospel-tinged Nothing Fails and the guitar-led Intervention are glorious, unabashed love songs, while the bonkers Mother and Father lays her childhood trauma bare over splintering electro-pop. Her best album? Maybe. Michael Cragg Friends Then A sitcom-by-numbers that acted as a death-knell for culture Now At least good enough to watch half an episode of while you eat your dinner As a bristling teen/young adult I thought Friends was an obvious, pandering, saccharine American slushfest that only had six jokes (Joey is stupid! Chandler is sarcastic! Monica is uptight! Rachel is easily flustered! Phoebe is weird! Ross is a horny nerd!) and had one of the most irritating theme tunes in history. But now with hindsight and maturity I realise that Friends deserves its place as the sitcom to end all sitcoms: the cast is immaculate, the joke timing is impeccable. Yes, too many episodes end in someone hugging or falling in love for my taste, but what have we had since? The Big Bang Theory? Ten-season prime-time sitcoms are harder than you think. Friends made it look easy. Joel Golby Trainspotting Then Irritating bid for Britpop-style hipster status Now Endlessly inventive and brilliantly funny I didn’t actively hate Trainspotting when it came out, but in the British cultural maelstrom of the mid-90s I distrusted it as an irritatingly self-conscious bid for hipster status. But I watched it again a few years later, when the hype was a distant memory – and boy, did I feel like an idiot. Really funny, properly moving and exciting; I couldn’t have been more wrong. Even Ewan McGregor’s total non-resemblance to a late-80s Edinburgh junkie (and having been a student in the city at that time, I’d seen more than a few) failed to annoy me; I could see his star-making performance for what it was. More fool me. Andrew Pulver https://www.theguardian.com/culture/2020/sep/26/my-daft-punk-review-hasnt-aged-so-well-guardian-critics-on-getting-it-wrong
  3. https://www.itv.com/news/2020-09-25/exclusive-kylie-minogue-on-her-lockdown-album-and-how-the-pandemic-has-affected-her
  4. Thoughts on her crew seeing through her devilish ways?
  5. T.O.A.D.S.

    Kylie debuts her disco stick?

    Her new album Disco comes out 6th November
  6. https://www.headcount.org/themazerunner/
  7. Kaley Cuoco: “I was very nervous,” the actress confesses to Yahoo Entertainment now. “I came into that in their final year, which is really hard to do. The girls are really set in their ways, and I was the new girl.” “I walked onto the stage where they were shooting Alyssa and Rose,” she recalls. “Alyssa came running up to me, gave me this huge hug and said, ‘Welcome to our show.’” Milano’s gesture of kindness instantly made Cuoco feel at home, and set an example that she’s tried to live by ever since. “That was so important... she knew what that meant to me,” she says, visibly touched at the memory. “She may not even remember that moment, but I remember that forever.” And in all of these projects, she’s made a point of being the person who helps the new kid on set adjust to their surroundings. “I know what it’s like when someone new comes on,” she says. “There’s people like [Alyssa] who really do mold your career and mold your path. So that was a really good moment.” Rose McGowan: "You threw a fit in front of the crew, yelling, 'They don’t pay me enough to do this s—!'" McGowan added. "Appalling behavior on the daily. I cried every time we got renewed because you made that set toxic AF. Now, get off my coattails you f----ing fraud."
  8. John Legend and Chrissy Teigen buy Beverly Hills manse for $17.5M John Legend, 41, and Chrissy Teigen, 34, who are expecting their third child — a boy — have just bought a nearly 11,000-square-foot home in Beverly Hills for $17.5 million, the property’s listing brokerage told The Post. The Wall Street Journal first reported the deal, adding that this purchase comes shortly after the couple listed their smaller, roughly 8,500-square-foot home, also in Beverly Hills, for a larger asking price of $23.95 million. Teigen’s mother, Vilailuck Teigen, a k a “Pepper Thai,” also lives with them. JB Builders recently completed this new 10,700-square-foot spread, which has six bedrooms and nine bathrooms. The home includes marble and wood details, the listing notes, as well as 24-foot ceilings and floor-to-ceiling windows. https://nypost.com/2020/09/25/john-legend-chrissy-teigen-buy-beverly-hills-home-for-17-5m/
  9. His words barely make any sense. And shouldn't be a surprise to anyone anyway: You might recognize a lot of the songs he's produced btw. Some ATRL favorites: The Pussycat Dolls - Buttons Fergie - Glamorous Fergie - London Bridge Nicole Scherzinger f/ TI - Whatever U Like The Pussycat Dolls f/ Missy Elliott - Whatcha Think About That Nicki Minaj - Anaconda Christina Aguilera f/ Nicki Minaj - WooHoo Christina Aguilera - Not Myself Tonight Ciara - Promise Keri Hilson f/ Lil Wayne - Turnin Me On Chris Brown - Forever Usher - Love in this Club Robin Thicke f/ Nicki Minaj - Shakin It For Daddy Fergie - M.I.L.F$ Ludacris f/ Mary J. Blige - Runaway Love Kelly Rowland f/ Eve - Like This Usher f/ Nicki Minaj - Lil Freak Usher f/ Jay-Z - Hot Tottie M.I.A. f/ Zayn - Freedun
  10. He also praises H.E.R., Kendrick, and Gaslight Anthem. He can be The Boss but he’s not ready for CotCC.
  11. https://yougov.co.uk/topics/international/articles-reports/2020/09/22/worlds-most-admired-2020 Mine is #9F(+1 from last year).
  12. nostalgia

    Vin Diesel debuts as popboy

    "Fast & Furious" chanteuse Vin Diesel partnered with Kygo for his debut single Feel Like I Do. Is he here to SAVE pop?
  13. Elite Four Brad

    Bottoms Summon Top in New 911 Challenge

    I hate Monsters sometimes...