“This world would be a whole lot better if we just made an effort to be less horrible to one another. If we took just five minutes to recognize each other’s beauty instead of attacking each other for our differences. That’s not hard. It’s really an easier and better way to live.”—Ellen Page [x] (via cosimes)
The Moon Song (Studio Version Duet) - Karen O featuring Ezra Koenig
In this new rendition of “The Moon Song,” Karen O is joined by Vampire Weekend frontman Ezra Koenig. “I wrote the song as a duet,” Karen O explained. “I was really excited at the prospect of getting to record it with a male vocalist. Ezra was super cool and open, he slipped into character like a champ and damn he’s got the goods.”
A special three-song EP of “The Moon Song” arrives this week on iTunes.
“[…] death is a huge event, and while it had been in the wind for most of the season, it was still a shock to see her taken out; it was even more shocking that Gemma would be the one to do the deed. But it makes a certain kind of sense. Gemma’s complicated relationship with her son and her daughter-in-law has always had certain Freudian undertones, and for her to lash out at someone who refused to put up with her shit in any way, shape, or form fits what we know about the character. It’s possible to imagine a finale in which that brutal confrontation in the kitchen was a powerful, if devastating, conclusion. Yet that isn’t what we got. Instead, it was just the latest in a series of shocking! violent! twists! that serve little purpose other than to punish Jax, add more suffering on the pile, and put some twisted, nihilistic cap to a deeply frustrating season. Tara’s death is meaningless, a bit of dramatic irony that solely reveals the limited imaginations of the people who created it. There’s no catharsis here, no sense of anyone suffering for a reason. Just misery piled atop misery, interspersed with mopey music montages, because that’s all that’s left.”—The A.V. Club — Sons of Anarchy: A Mother’s Work Review (via iloveyourglasses)
“She’s not more over it than he is. At the end of act one, when she looks over at him and sees what he’s suggesting, that he wants to put her on the stand, it’s like: Oh my God, your hatred really is appalling. You’re seeing her disbelief that he’s gonna go there, that he’s going to use pillow talk in his cross examination. But when she remembers him rubbing her leg under the table, it’s because she’s still attracted to the idea of Will as sexual object. And obviously what comes with that is passion for love, or passion for another person. I don’t think she’s over it at all. Will just hasn’t faced his heartbreak until this moment, and it’s coming out in very ugly and depressing ways.”—Robert King on Will and Alicia in “The Decision Tree”