Andrew

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About Andrew

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  1. The only evidence I have is at least a decade of simply observing the trends on IMDB and the like. I'm certainly not about to be arsed to actually collect the data because doing so comprehensively would be an exercise in masochism. You're right in the end of the day it's a difference of opinion and you can listen or not listen to whatever number is the one that pleases you most. I do think it is a bit silly to assume that critics have some sort of agenda in mind when they're all different people for all sorts of different publications. Could just be people with different opinions, that's my wild theory.
  2. It's not impossible but it's pretty tricky, and again, let's not throw out the point that Metacritic clearly reflects that while audiences are enjoying it they are clearly enjoying it substantially less than the other Marvel programs. The point I'm making is that because there is so little variable in audience ratings it is hard to take it seriously simply as a metric. If every stat is virtually the same, the stat is essentially meaningless.
  3. I mean to be fair, I think a lot of companies would freak a little if they found out you've been jizzing on company property.
  4. Audience reviews should genereally be ignored because there quite simply is rarely a significant spike in data one way or the other. As Ruiner astutely pointed out, all but the most heinous of dreck gets average to high audience favoritism, easily in the 70-80 range on Rotten Tomatoes. The point there being, how can you ever take audience reviews as any sort of sign of quality if every available product gets the same general score? No one reports on it because it's like saying it's raining in Seattle. "Iron Fist, does however, have an 80% audience rating, because of course it does, every show on the website has an 80." It's redundant, pointless information. The perception that the show is a failure is completely true, if you're to say it is a critical failure. A number of people who have made lives out of critiquing the content of media have found substantial flaws in Iron Fist that they did not find in all the other shows. You may not relate to critics, but it's all the same people who reviewed Luke Cage, Jessica Jones, and Daredevil. There is no substantial shift, so either you believe that for some reason every critic in the world decided to get together and come up with reasons to dismiss Iron Fist, or they all found legitimate gripes with the presented content that they did not see in the previous works. Mike seems to be a big believer of the former, do you wanna lump yourself in with that guy, or perhaps acknowledge that not everyone is so easily pleased. It's also worth noting that the flaw in the Tomatometer system is present here in that a 17% or whatever does not indicate it is a 1.7 out of 10 show, it simply indicates that it received less than favorable reviews from 83% of critics, but that doesn't mean it's awful. Of course, Metacritic's 37 score for it isn't super ideal either, since that ACTUALLY summarizes most of the scores which means more critics than not are putting it in the low ranges for scoring. It's also got a 6.1 from the users of the same site, which actually DOES indicate that even the layman is finding more to criticize in Iron Fist than in the past shows (8.3 for Luke Cage, 8.1 for Jessica Jones, 8.7 and 8.9 for Daredevil).
  5. Andromeda was available for a ten hour preview for EA Access members starting on Thursday, that's how people have been playing it already.
  6. In the business we call it a "tripod"
  7. 15. "Kiss It Better" - Rihanna - 'ANTI' It really irritated me when Good Charlotte's new single took a potshot at there being no guitars on the radio, even though their song was as flat, insipid, and guitar-less as a bunch of other shit. You know what song has rocking guitar? This kick-ass Rihanna single. This is the best she's been in almost ten years. See Also: "Same Ol' Mistakes" "Desperado" | Further Research: "Cold Case Love" _ 14. "Believe" - Normandie - 'Inguz' This was a really good year for clean vocal bands in the vein of Hands Like Houses. In their debut record, Normandie dropped some absolute jams, the best of them all being the thunderous "Believe," an addicting sing-a-long tune with great use of falsetto to bring the hook home. This record is jam-packed with a lot of great songs, but this was the one I kept coming back to. See Also: "Collide" "Loop Hole" _ 13. "Trainwreck" - Banks - 'The Altar' If there was anything Banks WASN'T good at on her first record, it was producing a legitimately loud banger, not that she tried mind you. Still, color me surprised when on her follow-up she produced a track as overwhelmingly emphatic as "Trainwreck," a legitimate dark dance hall song that showcases Banks' signature brood in a whole new light. While Banks was still great at her moody downtempo ballads on her sophomore success, but songs like "Trainwreck" really demonstrated her evolution. See Also: "Fuck With Myself" "This Is Not About Us" | Further Research: "This Is What It Feels Like" _ 12. "I Always Knew/Slow Me Down" - Issues - 'Headspace' Though it doesn't particularly FEEL like an album closer, "Slow Me Down" succeeds as one by being the song on the new Issues record, a tough task to achieve on an album full of surprisingly great cuts. Issues really came into their own in 2016 with a legitimately great follow-up to a guilty pleasure debut. "Slow Me Down" is a titanic song that has a great intro to build into it, before it dazzles with an emotional build into a powerful chorus that the band has never matched in their previous works. Tyler Carter's prowess as a vocalist has never been more clear than in this stunning display. See Also: "The Realest" "Made To Last" | Further Research: "Disappear (Remember When)" _ 11. "Wasteland" - Against The Current - 'In Our Bones' Wouldn't be one of my lists without a trademark foray into female power pop. Against The Current wasn't as strong as some of the previous bands I've obsessed over, but their album was a significant grower for me over 2016, and their legitimately great songs like "Wasteland" stack up with some of the best cuts of the year. This mid-tempo tune manages to do a good job with the balancing act of quiet to loud, eventually climaxing with a cinematic bridge and an explosive finale. This one went blow for blow with "Running With The Wild Things" for this spot on my list, but ultimately won out thanks to it's impressive scope. See Also: "Running With The Wild Things" "Chasing Ghosts" | Further Research: "Gravity"
  8. I can't believe you still think Reigns is a guy that needs carried.
  9. While in theory I would love a rematch to one of the best matches of the last few years, I'm seriously disappointed that this company refuses to learn its lesson on this Roman Reigns thing.
  10. 19: "Black Honey" - Thrice - 'To Be Everywhere Is To Be Nowhere' On their big comeback album, Thrice dabbled with a lot of sounds that made them the band they are today, and few of them deftly blended styles like the melancholy second single. With it's brooding tempo and it's increasingly furious build, it feels like the perfect cocktail of 'Beggars' and 'The Artist In The Ambulance,' and is one of the clear standouts on a good but not great comeback effort. See Also: "Blood On The Sand" "Whistleblower" | Further Research: "Hold Fast Hope" _ 18. "Tennessee" - Kiiara - 'low kii savage' Kiiara's unique vocals and subtly smooth brand of electropop made her one of the fascinating up-and-comers of the 2016 alt scene. "Tennessee" is an infectious and eclectic song with some sort of hook seemingly every five seconds, creating some sort of bizarre, busy cocktail that somehow works out to one of the most listenable songs of the year. Kiiara's entire six song debut is worth a listen but this is the biggest earworm of the batch. See Also: "Feels" "Say Anymore" | Further Research: "Heavy" by Linkin Park _ 17. "FML" - Kanye West - 'The Life of Pablo' Kanye's most controversial record since '808's and Heartbreaks' packs its fair share of fascinating punches, and it was distressingly hard choosing one to highlight. Ultimately I chose a song that echos '808's' in it's gloomy, contemplative stylings. Distinctly barren of rapping except for Kanye's electric second verse, "FML" is by and large just a moody and hypnotic mid-album track with impeccable production and a sublime, modest hook from The Weeknd. See Also: "Ultralight Beam" "No More Parties In LA" | Further Research: "Say You Will" _ 16. "Bulletproof" - Young Guns - 'Echoes' Active rock's best kept secret bangs their way onto the list for the second straight year, with a blazing lead single off another underappreciated record. Most of what I said last year about "Speaking In Tongues" can apply nicely to "Bulletproof" as well. It's simply a tried and true formula that shows of the Guns ability to write inspired hooks that don't lean on easy sing-a-long lyrics or repetition. It's fun and uptempo but not insulting, exactly what these guys do best. See Also: "Living In a Dream Is So Easy" "Buried" | Further Research: "Speaking In Tongues"
  11. This is the comparison I would have gone for. Definitely sounds Fray-esque, with just a twist of modern pop. Not sure I like it more than Heavy to be honest, but it's good.
  12. Bennett is getting 3 yrs/18.45 million, and the best part is, apparently that's actually less money than they were talking to Jared Cook about. See ya Cookie, thanks for the memories.
  13. Ex-Bears do good work for us. Everyone thought J-Peps was done when he signed here and then he found his old form. I think Marty's gonna come alive. And tbh Cook's effect on this offense was overrated and Bennett's a step up in every way from him.
  14. Fuck. Yes.
  15. Aww. Bye bye Green Peppers