It was an unduly thoughtful day. Reflective. Even when it wasn’t reflective, it was thoughtful, though less unduly. And then non-reflective, but still thoughtful events fell in line with just experiencing the Grammys—no, really, I care about this shit if only because one of the side effects of constant information is constant emotional investment, large and small, but Beyoncé obviously deserved to win even if I, personally, prefer A Seat at the Table. At the same time, I haven’t seen anything from 2016 better than Lemonade. There’s something better from 2016 than Lemonade, but I haven’t seen it yet. Anyway.
And that Adele album isn’t even particularly good. The first Adele album is good. It goes downhill from there. I mean, the telephone song is all right and she can sing the hell out of it, but Lemonade? Come on. It’s always good and it’s sometimes awesome. It’s also technically ambitious in ways you’re not getting from anything else because it’s constructed as a whole. It has a narrative arc, which means it also has the narrative discovery arc of its creation. Alan Moore’s thing about time in novels—time the reader spends reading, the present action of the story, the time the author took to write it, maybe even something else. Oh, right. With recorded media—how long it takes place over. How long that present action lasts, which is the reader reading but not. So there are four but two alternate. Lemonade has all that. Cranes in the Sky has it too but it’s a scrapbook, not a story. And it’s better, but it’s also easier to construct. Maybe not in its parts, but there are organic ways to make it fit. Lemonade, the album, is the soundtrack to Lemonade, the music film of the album. How does that not win album of the year?
So I lost myself in thought. Away from the world. Even when John Oliver came back and apparently decided he’s going to stop on the “liar” hill and let someone else have the balls to get to the “fucking Nazis” hill. For a second I thought he was going to do it, but he didn’t. But that show—and Oliver—are going to get compromised real soon. All of these people (Oliver and so on, including Jon Stewart) have seen Good Night, and Good Luck.
And on that note… why the fuck is Wesley Crusher so annoying on the second season of “Star Trek: The Next Generation?” He wasn’t too bad on the first season. I think it was Gates McFadden tempering it. Pulaski sucks. And why’s Wesley in that goofy pajama outfit?