See the whole new issue of The Stranger over here (or click on the cover)!


1. The features in this week's edition of The Stranger are: (a) a blatant bid for online comments about race by DANIELLE HENDERSON, and (b) a bunch of photographs of musicians holding kittens—a piece that belongs on the internet and, clearly, nowhere else. Seriously? Troll-bait and a few snapshots of degenerates cuddling with baby mammals? What does The Stranger's credibility sound like as it gushes from the puncture wound in the paper's side? Is it a great gust of hot air, or more of a flatulent whining noise?

2. In the world of visual arts, JEN GRAVES documents an "artwork" that, even in that spectacularly nonsensical scene, stands out as particularly preposterous: a mural depicting seven cubes that any old hired-hand painters can re-create any old place, even changing the cubes themselves, if need be, to fit a new space. The original piece was destroyed. What was so wrong with just leaving it at that?

3. In the chow section, BETHANY JEAN CLEMENT loses her ever-loving mind over a French wine bar downtown. The wine bar has a very short menu—Clement herself says that the role of the food is "downplayed" there—so what, precisely, is this doing in the restaurant review space? Lest you imagine that Clement uses her word count to edify readers about the bar's wine selection, she somehow barely discusses that as well. The particular shade of the green walls is, however, well-documented. One question: Why?

4. Apparently, The Stranger still publishes a column by WM.™ STEVEN HUMPHREY titled I Love TV. This is a holdover from the pre-2010 era, in which people watched television "broadcasts" all at the same time. This week, Humphrey writes about an upcoming feature film and a long-since-canceled TV show that is now available only on DVD. Please explain how Humphrey still has a job in a post-Netflix era, when people "binge-watch" their "content." (And please refrain from proposing that Humphrey may be hoarding illicit photographs of Stranger staffers in compromising positions to leverage his role, as that canard is also obsolete in this selfie-obsessed digital culture. In your criticism of Humphrey, be smarter than Humphrey.)