"But there was nothing about the little, low-rambling, more or less identical homes of Northumberland Estates to interest or to haunt, no chance of loot that would be any more than the ordinary, waking-world kind the cops hauled you in for taking; no small immunities, no possibilities for hidden life or otherworldly presence; no trees, secret routes, shortcuts, culverts, thickets that could be made hollow in the middle – everything in the place was right out in the open, everything could be seen at a glance; and behind it, under it, around the corners of its houses and down the safe, gentle curves of its streets, you came back, you kept coming back, to nothing; nothing but the cheerless earth."
Thomas Pynchon, "The Secret Integration"

This is Ian Mathers' Tumblr. I live in Canada. I've written about music and other things for Stylus, Dusted, PopMatters, Resident Advisor, the Village Voice, and a few other places. Hi.



Anonymous asked
Could you talk more about your feelings concerning the past season of Hannibal? I know about Bryan Fuller's shitty tweets re: Margot having sex with Will, and the death of Beverly Katz (I know this still bothers some people)… I guess I was just wondering if there was more I'm missing? Thank you!

Honestly, the way Beverly Katz’s death was handled alone (both off and on screen) would have been enough for us. The way they’ve written Alana this season(/always?) was pretty troubling too. There’s things like the fact that they’re bringing back Chilton (and we love Raul Esparza’s Chilton, don’t get me wrong) after he was shot in the face but can’t seem to figure out a way to keep any female characters alive bothered us. Hannibal is so close to being the kind of show it kind of seems like it wants to be (and is so good in some other respects, and certainly unlike anything else on network TV right now) that it feels extra shitty when Bryan Fuller and co. reveal that they’re not really trying. ladiesfeels and her “don’t watch Hannibal” tag have a lot of good responses to a lot of the bullshit that’s happened with that show this year. 

That said, I wound up even more bothered by Louie partly because Fuller’s been so vocally inadequate and shitty, whereas Louis C.K. is clearly trying really hard to work things out and do a good job with some very tricky* topics. There are things about the episode that won the Emmy that are really great, and I know both of us were really moved by it. But as the post I reblogged tonight (and other stuff I posted when it aired) point out, it’s still got some serious, serious problems. And the later episodes, while most have some wonderful stuff in it, add up to something that just doesn’t sit right. I don’t even think I can articulate how much the last couple of episodes with Pamela Adlon bothered me, which I guess is maybe part of the point.

Anyway, thanks for asking, and if I didn’t cover something you were wondering about, please feel free to follow up!

*(I mean, tricky in terms of putting them on TV, people I know talk about these kinds of things pretty consistently, but, you know, pop culture)

Louis C.K.'s 'Fat Lady' Episode Won an Emmy For This Brilliant 7-Minute Monologue



And then he never saw the very funny Fat Lady again, but spent the next three episodes in a courtship with a pleasant, thin woman who could not speak English. So, you know, it’s better to be with a pleasant, thin lady who he basically can’t even talk to (or have talk back) than spend any more time with the very nice, very funny Fat Lady.


If you told me that this past season Louie would overtake Hannibal as the most seriously, troublingly flawed show that we still watched, I’d have been shocked (and assumed that the latter would improve to get us there, rather than nosediving like it did).

i know you want [fill in the blank]


Instead of saying something like, “Here’s some sexy drawings of Kimiko I did” you said they were about “agency” and “celebration of the female form”. It’s hard not to see language like that as dishonest and sort of insulting.

An Open Letter to Aaron Diaz”, Magnolia Porter, caught between the moon and magnolia porter, 2014.


there is one quote that kept playing through my head while watching… it’s a quote from jes of destruction unit’s media interview last year, about ascetic house’s tapes to prisoners program. “i don’t care about reforming the prison system. why would anyone want this stuff re-formed? i’m only concerned with showing people that they can take their own path.” i don’t agree when it comes to actual prison reform, but in terms of the psychic imprisonment caused by pop culture i kind of do. i know it’s complicated but after watching the VMAs i am feeling really sad about how much intelligent thought goes into picking apart the pop culture machine instead of showing people that there are alternatives.

—”accidentally watched the vmas for the first time”, Liz Pelly, liz pelly’s tumblr presence, 2014..


The cultural conversation has changed since 2009, and it flatters Morrison’s concept of superheroes as living ideas. Art, we are frequently told, has real and political effects on us and our world. Violent art will not make you pick up a gun and shoot your classmates, but it can reinforce paradigms of violence as inevitable solutions. Depictions of women as sexual objects likewise reinforce patriarchal notions of women as property to be owned. And to exclude non-white characters from popular representation is to state to non-white persons that they are valueless, invisible, periphery beings, and that white supremacy is nature’s default.

These too are not new ideas, but they are prominent now, and they metaphorically synch with Morrison’s notion of superheroes as real, living factors in a world which often seems so awful. Will nothing ever change? Will superheroes always be mostly white? Male? Cisgender? Heterosexual? The Multiversity, then, stands as an argument that no: the DC multiverse is too big for that, and it only takes a little imagination (specifically, here, that of Grant Morrison) to make things better. Don’t give in to the Gentry, who look to spoil everything, who make poor Nix Uotan bitter and nihilistic, and thus tacitly servile to prevailing, abusive authority. “Don’t stop believing,” Morrison declares.

The corporate rock implications of that quote are intentional. […] RIDDLE ME THIS, DETECTIVE: when does don’t stop believing become don’t stop consuming?

THIS WEEK IN COMICS! (8/27/2014—52 is an Artificial Limit, and other obvious statements)”, Joe McCulloch writing as Intellectron for The Comics Journal, 2014.


The reactionary political appeal to fantasy fans is rooted in the idea that individual heroism can prevent collective disintegration.

—tweet, Timothy O’Neil, 2014.

Now this, right here, is curation as artform.


ive said it before and ill say it again

if your business can’t “afford” to pay its employees a living wage then your business should fail.  Capitalism fucking sucks but if we are going to live in a capitalist society it should actually be capitalism and not “rich people get free passes to be fucking awful at everything”

Maybe some businesses actually can’t afford to pay a living wage, as opposed to refusing to do so because profits would be reduced (but not eliminated). I suspect there aren’t that many of them, but what if there are? What would that say about capitalism and its sustainability? If there aren’t many businesses who are unable to do so, what does that say about capitalism and its effect on society?