Tron Ares (dir. by Joachim Rønning)

Posted on October 9, 2025 by Leonard Wilson

Tron Ares is this year’s Spawn for me.

For those unaware (and I really should write about Spawn one of these days), I saw Spawn with a friend when it first came out. I loved it, walking out the theatre and raving about it. Over pizza, my friend explained in great detail the many ways it actually sucked. Even Michael Jai White hated it.

With my expectations being lower than they ever were for anything, Tron Ares surprised me. I leaned forward in my seat. I chuckled, and bobbed my head to the music and stayed until all of the credits were done. It could have done many things much better than it chose to do, but given the distance in time between Legacy and the choices for where the story could go, it’s not the worst film in the world. It’s not like Tron as an entire franchise was ever that deep with its storytelling (with the clear exception being Tron Uprising, of course). It brings some new elements to the overall tale that I didn’t even consider. Imagine what the writers could have done if they started working on this right after Legacy. With 15 years gone, it’s hard to get actors together for a project.

Both Trent Reznor and Atticus Ross are Executive Producers on Tron Ares. They threw money at this. They even have cameos in the film. At best, Tron Ares is the coolest looking Nine Inch Nails feature length music video to have ever existed since perhaps The Perfect Drug. The music compliments the film exactly as Daft Punk’s did for Legacy and Wendy Carlos’ did for the original. The sights are dazzling and the sounds are sharp. The music isn’t so much the subtle Reznor/Ross we’ve had with Bones and All, or the weirdness of Teenage Mutant Ninja Turtles: Mutant Mayhem. This is loud and kind of booming. We finally get light cycles in the real world (which isn’t giving anything away that wasn’t already in the trailers). In that sense, it’s a win on a few levels.

If it’s a deep story with characters you’ll root for and possibly worry about, however, Tron Ares is not that film. You’re probably better off with either One Battle After Another or Weapons, both of which are equally good. I will say that what Tron Ares lacks in story, it does make up for with some generous fan service moments. There are tons of references to both Tron and Legacy if you pay attention, even if the story itself veers off tangent. I felt it handled this so much better than Legacy ever did. You can’t say the other films weren’t considered in making this. It’s not that far from another Disney project, F/X’ and Hulu’s Alien: Earth in some ways.

In the years after Tron Legacy, there have been many changes. Encom encounters some competition in the form of the Dillinger Corporation, lead by genius Julian Dillinger (Evan Peters, X-Men: Days of Future Past) and his mother, Elizabeth (Gillian Anderson, The X-Files). Kevin Flynn’s (Jeff Bridges, The Big Lebowski) dream of crossing the digital frontier has become a race to see who can make their digital assets a reality. Dillinger’s newest, greatest program is Ares (Jared Leto, Morbius), who is fully versed in various fighting techniques and security protocols. What does this mean for life in The Grid, the universe inside the machine? Can Ares be trusted, or controlled, for that matter?

Acting-wise, everyone has a job to do. To his credit, Leto is not bad in this. It’s not robotic, but it’s not quite the second coming of Jordan Catalano (if anyone even recalls who that is). It’s not like the script, written by Jesse Wigutow (Daredevil: Born Again) and David DiGilio (The Terminal List & The Terminal List: Dark Wolf) calls for his character to have a great depth of emotion. Greta Lee (Past Lives) and Evan Peters do most of the work, along with Jodie Turner-Smith, who seemed to have the most fun. Anderson also does a good job, but again, there’s not a whole lot to work with.

Tron Ares hovers right above the Incident mark for me. It could have been so much better than what it was, and who knows how long the visuals will stay with me. Yet, just like the films before it, it’s rescued by a score that may be remembered more than the film itself in the years to come. I don’t know if I’d go back out to see this, but would happily catch it once it comes to digital.

Music video of the Day: We’re In This Together by Nine Inch Nails (1999, directed by Mark Pellington)

Posted on May 17, 2024 by Jedadiah Leland

This video was shot in Guadalajara and a dry lake in Sayula.

This video was directed by Mark Pellington, who was one of those directors who worked with everyone who was anyone. Pellington went on to direct films like Arlington Road and The Mothman Prophecies.

Today is Trent Reznor’s birthday. Getting older is never fun but Reznor has said that he is happier now than when he first started his career. Reznor has gone from being the poster child for excess and dark tendencies to being one of the film industry’s most acclaimed and in-demand composers.

Enjoy!

Music Video of the Day: Burn by Nine Inch Nails (1994, directed by Hank Corwin and Trent Reznor)

Posted on February 12, 2024 by Jedadiah Leland

In many ways the epitome of a Nine Inch Nails song, Burn was recorded for the Natural Born Killers soundtrack and was released as a promotional single at the same time that the movie was playing in theaters. This music video, directed by Hank Corwin and Trent Reznor, was originally included on the VHS release of Natural Born Killers.

The video uses many of the same techniques that Oliver Stone used in the controversial film, having Reznor perform in front of a projection screen that shows stock footage and scenes from the film.

Director Hank Corwin is best known as a film editor. (He was the editor on Natural Born Killers.) He is a three-time Oscar nominee for his work on The Big Short, Vice, and Don’t Look Up.

Enjoy!

Music Video of the Day: Burn by Nine Inch Nails (1994, dir by Hank Corwin and Trent Reznor)

Posted on October 20, 2020 by Lisa Marie Bowman

I like Burn, even though it’s not exactly subtle song. I mean, Trent Reznor has never exactly been the most low-key of songwriters but Burn is a bit heavy-handed by even his standards. That said, it’s got a good beat and you can dance to it and it’s fun to music to play while you’re setting a fire or trying to freak out a boomer.

The video was apparently included on a special VHS tape of Natural Born Killers. And now it’s on YouTube so watch it while you can because I have a feeling this video will probably get yanked down for copyright reasons in another month or so. Stuff like that just makes me want to burn it all down. The video pretty much follows the Natural Born Killers aesthetic. It’s a type of style that’s good for music videos but a bit much for a 2 hour-plus film. Natural Born Killers is one of those films that I always get bored with before it ends but the soundtrack’s pretty good.

Enjoy!

Music Video of the Day: Cars, performed by Gary Nunan and Nine Inch Nails (2009, dir by ????)

Posted on April 16, 2019 by Lisa Marie Bowman

This performance was filmed in London on July 15th, 2009. Apparently, Gary Nunan was a surprise guest. While Gary sang, Trent Reznor showed that he knew how to use a tambourine.

Enjoy!

TV Review: Twin Peaks: The Return Part 8 (dir by David Lynch)

Posted on June 25, 2017 by Lisa Marie Bowman

It is happening again.

Yeah, this isn’t going to be easy.

Tonight’s episode of Twin Peaks was … well, I’m not sure how to describe it. Basically, if you combined Tree of Life and Kiss Me Deadly with The Beast of Yucca Flats and Tombs of the Blind Dead, you would end up with something resembling tonight’s episode. Tonight’s episode was David Lynch at both his most brilliant and his most cheerfully defiant. Tonight was David Lynch unleashed. People either hated it or they loved it.

The recapper over at E! News Online hated it. I almost didn’t include a link to their recap, largely because the only reason they’re recapping Twin Peaks is to get the clicks. They’re certainly not recapping it because they have any sort of genuine understanding or, for that matter, interest in what Lynch is attempting to do. For the most part, their recap went something like this: “Oh my God, that was soooo weird and the nuclear explosion sequence went on forever and what was the deal with 1956 and look at all the snarky nicknames I’ve come up with for all the characters and oh my God, did I mention that I have a roommate?” If your main complaint about tonight’s episode is that it was “too weird,” then you obviously are not meant to be a part of this show’s audience.

As for the length of the nuclear explosion … seriously? What the Hell type of complaint is that? You might as well complain that the stargate sequence went on for too long in 2001 or maybe that Picasso shouldn’t have taken up so much space with Guernica. It’s easy to imagine this critic in Elizabethan England, whining that Hamlet was just too talky. Tonight, we were lucky enough to witness one of the most visually stunning sequences in the history of television and you actually have the freaking nerve to complain that it went on for too long? I understand that, over at the Kardashian network, being snarky is a part of the job but you can be snarky without being stupid about it.

I was not the only one disappointed by that recap…

(I usually try to cut recappers some slack. After all, you’re on a deadline and you’re trying to beat everyone else for those clicks and sometimes, you rush and you say something stupid. I’ve been there. Just ask Arleigh about the first season Game of Thrones recap where I somehow managed to mix up Jon Snow and Robb Stark. That was beyond embarrassing. But, again, there’s a difference between being rushed and being willfully ignorant about what you’ve just watched. For instance, there’s a reason why I wouldn’t even try to recap that football show starring Dwayne Johnson. I guess my point is that maybe E! should focus on what they’re good at, like promoting scripted reality programs and helping Scott Disick get laid.)

Anyway, here’s my attempt to recap what I watched. I will warn you right now that a mere recap is not going to do this episode justice. If you haven’t seen it, you need to watch it before reading any recap, regardless of who wrote it. Tonight, I saw images that I never expected to ever see on television. There were visuals of such unexpected beauty and haunting menace that you simply must see them for yourself.

We open with a classic David Lynch driving scene. Doppelganger Cooper (Kyle MacLachlan) and Ray (George Griffith) are driving down a country road in the middle of the night. The Warden attempted to put tracking devices on the car but Doppelganger Cooper was far too clever for him.

Ray apologizes for running off on Doppelganger Cooper and asks where Darya is. The Doppelganger says that she’s waiting for their phone call. (If you’ve seen the pilot episode, you know that she was murdered by the Doppelganger.) The Doppelganger says that Ray has something that he wants. Ray assures him that he does and that he all the “numbers memorized.” However, Ray thinks that it might be worth some money if the Doppelganger really wants what he has.

Doppelganger Cooper tells Ray that they’re going to a place called The Farm but Ray asks if they can pull over for a sec so he can, as he so charmingly puts it, “take a leak.”

“Go for it,” Doppelganger Cooper replies.

Well, not surprisingly, Ray has another reason for wanting to pull over. As soon as Doppelganger Cooper gets out of the car and demands the information, Ray shoots him.

“Tricked ya, fucker,” Ray says.

And that’s when things start to get … strange.

Suddenly, there is a flashing light and, as Ray watches, a group of dark men (much like the dark men who previously appeared in the South Dakota jail and outside the morgue) emerge from the woods. They surround the doppelganger. While some dance in a circle, others paw at the the body. Briefly, it appears as if Cooper’s chest has been opened and the smiling face of Killer BOB (Frank Silva) can be seen. Ray runs back to his car and speeds off while the dark men vanish.

As he drives away, Ray calls Phillip Jeffries and tells him that Cooper might be dead but he’s not 100% sure.

Meanwhile, at the Roadhouse, Nine Inch Nails performs. The recapper at E! felt that the Nine Inch Nails performance went on for too long, which again shows a remarkable ignorance about the importance of music in David Lynch’s work. (Considering how much Twin Peaks: The Return has in common with Lost Highway, the sudden appearance of Nine Inch Nails felt totally appropriate.)

As the song comes to an end, we cut back to the Doppelganger, who suddenly sits up. Has he come back to life or did those two gunshots really fail to kill him the first time? And what’s happening with Dougie/Cooper? It’s been suggested that the only way for Cooper to be Cooper again is for the Doppelganger to die and return to the Black Lodge. If the Doppelganger was dead for even a moment, does that mean Dougie/Cooper had a moment of clarity?

Those are all good questions that were not answered tonight because Lynch suddenly cuts from the Doppelganger to July 16th, 1945. Suddenly, we are in White Sands, New Mexico, listening as a voice counts down to zero. We watch from above as the world’s first atomic bomb is detonated. A mushroom cloud slowly and, it must be said, beautifully rises up into the sky.

The viewer plunges into the mushroom cloud and what follows is a mix of sound and image that so beautiful and so menacing that it is almost indescribable. We are surrounded by flames and explosions as we plunge into the heart of man-made destruction. In many ways, it reminded me of the Big Bang sequence of Terence Malick’s Tree of Life but, whereas Malick was imagining creation, Lynch is imagining destruction.

We find ourselves now looking at what appears to be a gas station in the middle of nowhere. Spurts of static are heard on the soundtrack while lights flash and shadowy men appear (and disappear) inside and outside of the station.

A figure floats in a gray space, apparently spitting up eggs. One of the eggs floats by us and, again, the face of Killer BOB is seen.

More flames. More explosions. A golden egg floats towards the camera. Briefly, we hear a heartbeat.

Cut to: the purple ocean that Cooper saw when he first escaped from the Black Lodge.

A woman who, in the end credits, is identified as being Senorita Dido (Joy Nash) sits in a gray drawing room. We hear an electronic clanking and a light starts to flash. The Giant (Carel Struycken) enters the room and turns off the alarm.

Moving slowly, the Giant walks up a flight of stairs. He walks into a theater, one that looks much like the Silencio theater from Mulholland Drive. On a screen, he watches the nuclear explosion. When he sees the egg with BOB’s face, the Giant suddenly starts to float into the air.

Senorita Dido enters the theater and watches as a golden cloud appears over the Giant’s head. From the cloud descends a golden egg, which Dido catches. In the egg, she sees the face of Laura Palmer. Dido kisses the egg and then releases it into the air. It’s sucked into a tube.

Dido stares at the screen, watching as the golden egg descends on Earth.

We cut to 1956. The New Mexico desert. (The rest of the episode is in black-and-white, giving these scenes a Beast of Yucca Flats feel. You can easily imagine Tor Johnson wandering about.) Another egg — this one much smaller, sits on the barren ground. It hatches and winged bug crawls out. (It looked like a mutated cockroach to me.)

Cut to the gas station, where a teenage couple is talking. (Coincidentally or not, they resemble James and Donna from the original series.) The girl (Tikaeni Faircrest) gets excited when she finds a penny on the ground. Well, who wouldn’t? Later, the boy (Xolo Mariduena) asks the girl for just one kiss. I’m not sure who they are or why they’re here but they’re both actually rather sweet.

A shadowy figure — the Woodsman (Robert Broski) — appears walking through the desert. The recapper at E! News apparently thought that the Woodsman was meant to be a “gorilla.” Of course, anyone who actually know anything about movies will immediately notice that the Woodsman looks a lot like the evil man who was living behind the dumpster in Mulholland Drive.

The monster from Mulholland Drive

The Woodsman from Twin Peaks, Part 8

The Woodsman stumbles across the highway. He approaches a couple in a car. “Got a light?” he asks, his voice deep and almost robotic. “Got a light?” he repeats, like a malfunctioning recording. The couple speeds away and we see that the Woodsman is not alone. At least two other shadowy men are with him.

A radio station, KPJK, sits in the middle of the desert. The Woodsman approaches.

We see that everyone in the nearby town — from an auto mechanic to a waitress to the teenage girl who found the penny — is listening to the station.

The woodsman enters the station. “Got a light?” he asks, before crushing the receptionist’s head with his gloved hand. He does the same thing to the station’s disc jockey but not before the Woodsman gets on the air and says, “This is the water and this is the well. Drink full and descend. The horse is the white of the eyes and dark within.”

As everyone in town listens to the Woodsman’s voice, they pass out. While the girl lies unconscious, the bug crawls into her mouth.

Having delivered his message and killed everyone at the station, the Woodsman walks into the night. The sound of a horse whinnying is heard.

And that’s it!

What does it all mean? I don’t know. What I do know is that I’ve never seen anything like it before. This was experimental cinema at its best. (And make no mistake. Twin Peaks is not a TV series as much as it’s an 18-hour movie.) Was it for everyone? No. Then again, nothing worthwhile ever is. David Lynch once described his first feature film, Eraserhead, as being a “dream of dark and disturbing things.” I can think of no better description for Part 8 of Twin Peaks.

The saga continues in two weeks! Will we still be in 1956? Will Dougie/Cooper ever snap back to normal? Will James Hurley ever show up again? Who knows!? But I will say this: I can’t wait to find out.

Twin Peaks on TSL:

Music Video of the Day: Came Back Haunted by Nine Inch Nails (2013, dir. David Lynch)

Posted on April 11, 2017 by Valerie Troutman

And if the viewer is epileptic, then they might come back having had a seizure and their driver’s license temporarily revoked because they didn’t see the warning onscreen that lasts four seconds.

What was David Lynch and everyone else involved thinking?

To add to this stupidity, there is another video for this that doesn’t do that, and is more interesting. That one is essentially a remake of the video for Bastards Of Young by The Replacements. The difference is that it’s a reel-to-reel instead of a speaker.

Jeez…if only there were some way to indicate to anyone coming across the video before they started playing it that it might cause seizures. It’s a real shame that YouTube doesn’t let you change thumbnails or anything like that.

Oh, but the idiocy doesn’t stop there. Remember that YouTube has an autoplay option. That means somebody could be listening to music, it moves over to the next video, they happen to be looking away, turn around, and have completely missed the warning. If it is a playlist on the iOS app, then you don’t even see the description. In fact, the description on YouTube videos don’t show up on the YouTube iOS app if you don’t click on the video, and then click for the description.

Here’s what it looks like if you do a search on the iOS YouTube app:

Here’s what it looks like after you have clicked on the video:

As I’m sure you already know, even the web interface while showing part of the description by default, is very easy to miss or is offscreen entirely at times unless you scroll down to look at it.

The flashing begins at six seconds–immediately after the warning–in case you were wondering.

Here’s a congrats from Uwe Boll wearing a wristwatch in his adaptation of Bloodrayne to everyone who made this video the way it is.

If you’re unhappy about what I said here, then here’s another part from Bloodrayne to tell you how much I care–courtesy of Michael Madsen.

I’m not even linking to the video. You can watch the Bastards of Young version below. And look at that? They were kind of enough to tell you in the title that it is only audio. That’s very important, but putting a warning in the title of a video is too much work. Not that it would’ve mattered anyways because plenty of people don’t even read the titles of YouTube videos before clicking on them. Just wow.

Music Video of the Day: The Perfect Drug by Nine Inch Nails (1997, dir. Mark Romanek)

Posted on October 28, 2016 by Valerie Troutman

https://www.youtube.com/watch?v=sSLqeZzTU8I

First things first, the music video is there despite what it looks like. Somebody just decided to get clever and put the YouTube video-has-been-removed pic as the thumbnail. If it actually gives you the error message after clicking on it, then I’m sorry. I’m also sorry that the last few seconds are missing. However, I can’t agree with a YouTube commenter about that problem. The music video doesn’t fall apart without them. I do have to agree and disagree with another commenter. This song will indeed wash your ears clean of Fifth Harmony’s song Work From Home, but I don’t see anything wrong with that music video. They are just very passionate about equating construction equipment with sex.

Meanwhile, over in the music video for The Perfect Drug, Trent Reznor is reminding me of why I bothered to buy the soundtrack for Lost Highway (1997) back when it came out. I didn’t care about any of the other songs. I just wanted The Perfect Drug. I wasn’t even a fan of Nine Inch Nails. I just fell in love with the song. My favorite part is the drum solo near the end. The music video is what lured me in with its’ cold Victorian look that was a beautiful and haunting representation of the music of Nine Inch Nails. I am sure that bit in the hedge maze was meant to be a reference to The Shining (1980) to fit with the theme of madness/obsession. I could have featured this music video anytime, but I figured October was as good a time as any.

This music video brings back a lot of familiar faces from earlier music videos I have spotlighted.

Danielle Cagaanan was an executive producer on the music video. I can’t find a whole lot of information on her credit-wise. I can find a bunch of other information. She must have gotten married because she now goes by the name Danielle Peretz. I also found out that back in 1994, she accepted an award for Spike Jonze being that year’s top director. You can even see a picture of her here with the director of the music video for Green Day’s Longview. According to American Photo magazine in 1995, she gave Spike Jonze his start with MTV. I also found her Linkedin page. It looks like she founded her own company this year that helps youth with cognitive challenges find jobs. Back during the making of this video, she was near the end of her 6 years at Satellite Films/Propaganda Films before hopping over to MCA Records.

June Guterman is back. She is the one who produced the music video for Lil’ Devil by The Cult.

Jeff Cronenweth is new. He has shot some music videos, but he’s probably best known for his work on other films like Fight Club (1999), The Social Network (2010), The Girl with the Dragon Tattoo (2011), and Gone Girl (2014).

Robert Duffy is back. He edited this as well as Hella Good by No Doubt, Closer by Nine Inch Nails, and Losing My Religion by R.E.M–among others. He has also worked on numerous Tarsem Singh films.

Tom Foden was the production designer. He did the same for Closer by Nine Inch Nails. He has worked on numerous Tarsem Singh films. He has one credit that jumps out at me. He was apparently an assistant art director on Playboy: Kerri Kendall – September 1990 Video Centerfold (1990), which was directed by Michael Bay. I would think that was a fake credit on IMDb, but Michael Bay did direct music videos back then. One of those music videos being I Touch Myself by Divinyls. Also, it really isn’t that uncommon for major directors to get their start in porn. Abel Ferrara’s first feature film was a porno.

Enjoy!

Music Video of the Day: Closer by Nine Inch Nails (1994, dir. Mark Romanek)

Posted on August 10, 2016 by Valerie Troutman

We’ve reached the end of my little journey from synthpop to industrial rock, and I think I’ve saved the best for last.

I didn’t watch MTV much in the early to mid-1990s, but I did on occasion. This was one of those music videos that would instantly stop me in my tracks. If it was on, then I was in front of the TV. At the time, it was the music video with the spinning pig’s head that seemed forbidden somehow. I also remember it being one of the most weird and best put together music videos of the time. Oh yeah, and the song is awesome. This is coming from someone who was not a fan of Nine Inch Nails either. I appreciated this song, I liked The Perfect Drug, and certainly was aware of their existence, but that still didn’t do it for me.

Today I remember Trent Reznor spinning on his back in the air more than anything else about it. The rest is filled with disturbing imagery, or at least imagery that appears disturbing when it is shown the way it is. I mean a lot of it is just stuff you would expect in a museum exhibit. One screwed up museum exhibit with the Warren Commission judging you for being there, but still. I’m also pretty sure that’s a picture of Jack Nicholson on the wall next to the monkey reminding me that I eventually have to do Jesus Christ Pose by Soundgarden. That’s really all I have to say because while I may love the song and video, I still have no real idea what it means. I just know that I want to watch it over and over till I figure it out, or it remains a mystery. Shouldn’t be too hard though, but I kind of like it just being a visual feast without any particular purpose to me.

This is one of those music videos where we know more than just the director.

Krista Montagna produced it, and appears to have produced some music videos for Madonna. She was also a production assistant on Silent Night, Deadly 2 (1987). That means the woman who produced this music video was probably there to witness Eric Freeman deliver his insanely over-the-top performance. Perhaps she was even there for “Garbage Day!”

On photography we have Harris Savides. He worked on numerous music videos. Some notable examples are Everybody Hurts for R.E.M. and Criminal for Fiona Apple. Not bad. He’s also done some work on feature films like Zodiac (2007), American Gangster (2007), Milk (2008), and Frances Ha (2012) among others. Again, not bad.

Robert Duffy edited the music video. He basically worked on other music videos that Mark Romanek made. Although, he did edit R.E.M.’s Losing My Religion. He has worked in feature films too, having edited The Cell (2000) and Self/less (2015).

Tom Foden worked as the production designer. Tom Foden did a few music videos, and what do you know, he was the art director on Radiohead’s Fake Plastic Trees. I didn’t expect that tie-in with what I said about Ministry’s Over The Shoulder. Foden also worked on The Cell and Self/less among other feature films as a production designer.

I guess the one we have to thank for Reznor spinning on his back in the air is Ashley Beck who did the visual effects on this and two other Mark Romanek music videos. She’s done visual effects on Romanek’s One Hour Photo (2002) all the way up to Suicide Squad (2016).

I guess I could go to Wikipedia and find out the intention of the music video, but I’m not going to do that. I’d like it to remain a mystery for me to crack for the time being.

Enjoy!

Song of the day: Every Day Is Exactly The Same (performed by Nine Inch Nails)

Posted on March 11, 2011 by Lisa Marie Bowman

Hearing “The Hand That Feeds” playing in the background of the trailer for Red Riding Hood inspired me to go to my CD collection and dig out Nine Inch Nails’ Without Teeth (released in 2005 but not purchased by tone-deaf little me until 2007). Originally, I was thinking of doing a post about “The Hand That Feeds” but as I listened, I rediscovered my favorite song from Without Teeth, “Every Day Is Exactly The Same.”

Every time I listen to this song, I feel as if I’m back in 2007 and I’m hit by deluge of bittersweet memories. I was still in college but I had reached the point where, for the first time, I realized that I would soon be graduating and I would actually have to start living the life that all of this education was supposedly preparing me to live. In the back of my mind, I was slowly starting to understand that everything I had always assumed would forever be in the future was now sneaking up on me. I can remember driving to and from school, listening to this song in my car and promising myself that I would never let every day be exactly the same. A part of me laughs when I think about how naive and innocent that sounds today. It’s hard to believe that it was actually little less than four years ago.

I guess I should also admit that listening to this song inspired me to break up with my then-boyfriend because, as I told him, “It’s just that every day with you is exactly the same.” Yes, for some reason, I thought that he would see my point if I phrased it that way.

Anyway, it’s still a good song.