Word: insipidness
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...serious and very pressing problem that demands immediate attention—and honestly, what have we really learned from the Isis emails that calls for such concern? That girls sit around and talk about one another? Someone please alert the New York Times. For all of the insipid chin-stroking and pontificating over these past few days about final clubs and their elitism, one would think it was a new problem. Alas, final clubs in general have been operating more or less under the same system from the eighteenth century right up until the twenty-first, with female final clubs...
...same, it’s hard to put to words just how insipid the Isis’ punch book really is. Once, to note that a club was exclusive was to say that it had dignity, that its members were endowed with social grace, an intangible but real quality...
...most dubious aspect, though, is a bizarre half-baked subplot involving child sexual abuse. In an interview with The Harvard Crimson, Kilmer and Black—either from jet-lag or sheer fatigue of the press junket circuit—dismissively respond to questions about their equally insipid film. The Harvard Crimson: “Kiss Kiss” takes an incredibly cynical view of Los Angeles and Hollywood. Do you think it was an accurate depiction of show business? Black: It’s entirely accurate. It’s like…every day a bus arrives...
...does the Arcade Fire insist on making such insipid music videos? The first offender was “Rebellion (Lies).” Not an outright failure, but undeniably a clip starved for imagination. There was probably no budget, so you forgive them, even though the only thing in the whole video keeping your attention is the fuzzy glow between Richard Parry’s drum and his drumstick, and even that can’t get you through the unintentionally humorous blanket-shaking scene. A few months later, “Neighborhood #3 (Power Out)”: basically...
...might almost have come from his hand. In a sense, of course, it did. But in time his example would prove too formidable. Rodin had rethought the human body more thoroughly than any sculptor since Michelangelo and made it the vessel of passions-pain, pathos, ecstasy-that the increasingly insipid conventions of 19th century statuary could not contain. That is immediately apparent in his magnificent Saint John the Baptist, a lean, striding nude who bears no attributes of the saint-no lamb, no staff-so that the saint's spiritual force is expressed entirely in the headlong power...