This thing is utterly soulless compared to what came before it

The stakes in BB weren't what made the show great, they just provided a framework for the well-written characters to act within. The stakes in BCS, while lower initially, have implicitly been Saul's soul / moral compass the entire show- something you know he will lose. Through the show, he "risks" his career, relationships, sense of right and wrong, life, freedom etc. repeatedly, but you already know where he ends up so no stakes can be created that prohibit his end destination.
It's a tragedy, not a comedy. You're not watching to see what he will lose (you already know what he loses), you watch to see how he loses it.

loveless is undeniably one of the most soulful pieces of music ever made

This right here. If I hadn't had decades to fall in love with Loveless before mbv came out I'd prefer the latter.

she found now is the best song on mbv
The stakes aren't solely what made BB great, but they certainly made it exciting as all hell. The characters are more often placed in desperate, dangerous situations. Emotions always ran high, tension always ran high.
Saul's descent from a modest lawyer to a crooked lawyer, even as a concept, just isn't really a story that excites me much at all. He sold burner phones, wow. He staged a situation where he saves a guy, wow. I dunno, I just don't care that much. Now that his actions have gotten someone killed, things just seem more serious

refinement seems to be a less soulful trait to me.
but i don't have much of an opinion on this really, i haven't listened to the albums enough.
i'll say my initial impression was that mbv was less soulful than loveless for some reason, but i couldn't articulate why.
still liked it a lot personally.

>she found now is the best song on mbv
*Only Tomorrow followed by New You
>The characters are more often placed in desperate, dangerous situations. Emotions always ran high, tension always ran high.
Sure- and the actors sold those scenes very well. I contest, however, that the real meat and potatoes of the show came from the characters making decisions consistent with their writing that, while conceivably predictable in tone (e.g. we know Walter will strive for power / money, Hank will strive for being big man on campus, Skyler will strive for security / comfort), will always have some element of unintended conflict / consequence. The character writing was what made the show great and gave it the X factor that kept it being discussed after the novelty wore off. I posit that BCS has this X factor in spades even in the absence of other qualities that made BB popular.
...similar to m b v, which has a higher degree of craftsmanship in the arrangements, better mixing, etc. New You is the pop song that every post-loveless shoegaze/dream pop shithouse band wished they could make- alas, they were all using distortions to cover up a songwriting deficit, so they could only make pale imitations with shit melodies.

Loveless is still great and obviously pretty wild for the time it released. I can't help but think shoegazing wouldn't have taken off (or maybe just been delayed) if the first real album to make waves was something like, say, Bloweyelashwish or some other garbage.

youtu.be/sFI1og-xuyY
youtu.be/1waGWoEe0i8
youtu.be/UrVcXmmd0v0
btw if you're a My Bloody Valentine Fan, it might be worthwhile to look up acoustic covers of your favorite tracks. Testament to the songwriting that it doesn't *require* 15 layers of distortion and effects to sound nice.

I don't know how one can listen to songs like Only Tomorrow, If I Am and Wonder 2 and call that soulless, but at the same time soulless has long just been a code word for "I don't like it" so whatever.

i want to suck belinda's cunt

/thread

nigger