Ryan Wilke

“I'm shocked by anyone who doesn't consider Los Angeles to be anything less than a bozo-saturated hellhole. It is pretty much without question the worst city in America. The reason "Walking in L.A." by Missing Persons was the most accidentally prescient single of 1982 was because of its unfathomable (but wholly accurate) specificity: Los Angeles is the only city in the world where the process of walking on the sidewalk could somehow be a) political and b) humiliating. It is the only community I've ever visited where absolutely everything cliche proved to be completely accurate.

I don't care if 85% of Los Angeles is stupid. I can deal with stupid. My problem is that every stupid person in Los Angeles is also a) unyieldingly narcissistic and b) unyieldingly nice. They have somehow managed to combine raging megalomania with genuine friendliness.”
― Chuck Klosterman

“Pundits are always blaming TV for making people stupid, movies for desensitizing the world to violence, and rock music for making kids take drugs and kill themselves. These things should be the least of our worries. The main problem with mass media is that it makes it impossible to fall in love with any acumen of normalcy. There is no 'normal,' because everybody is being twisted by the same sources simultaneously. ”
― Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto

“It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.”
― Chuck Klosterman

“Coldplay songs deliver an amorphous, irrefutable interpretation of how being in love is supposed to feel, and people find themselves wanting that feeling for real. They want men to adore them like Lloyd Dobler would, and they want women to think like Aimee Mann, and they expect all their arguments to sound like Sam Malone and Diane Chambers. They think everything will work out perfectly in the end (just like it did for Helen Fielding's Bridget Jones and Nick Hornby's Rob Fleming), and they don't stop believing because Journey's Steve Perry insists we should never do that.”
― Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto