"An absolute fucking testament to paranoia, to anger, and to blame. It's fantastic. 'They're out to get me, they won't catch me, I'm fucking innocent'... that's just fucking brilliant, absolutely brilliant. It's a youth anthem. Things like this weren't really addressed: the paranoia of it all. The dark side of life wasn't really looked at in rock, apart from theatrically, with Black Sabbath and Alice Cooper. It wasn't really looked at sociologically, and in my opinion Guns N' Roses were one of the first bands to tackle it properly. All the fantasies and romanticism that had gone before were there, but there was also a gritty side to it. The comedown side to it. The real side to it."

"This is really a sneaky way to list all of Criterion’s editions of Wes Anderson’s films. Tenenbaums is by far my favorite, but Rushmore, The Life Aquatic, and the new edition of Bottle Rocket are all pretty fantastic, too. I’m always immediately won over by the artwork and illustrations that tie all his films together. Even with different artists (Ian Dingman and Eric Chase Anderson) there is a consistency, due in no small part to Wes Anderson’s own particular aesthetic, that makes these films feel like four stories from the same hyperreal, idyllically melancholy world. There’s an interview in the Tenenbaums supplements section with artist Miguel Calderon that’s totally worth a listen."