The novelist on the continuing relevance of Ibsen, the joyful quilt art of Faith Ringgold and where to find British scotch eggs in New York

Born in Greenwich, Connecticut in 1966, author Claire Messud studied at Yale University and the University of Cambridge. Her first novel, 1995’s When the World Was Steady, and her book of novellas, The Hunters, were finalists for the PEN/Faulkner award; her 2006 novel The Emperor’s Children was longlisted for the Booker prize. Messud is a senior lecturer on fiction at Harvard University and has been awarded Guggenheim and Radcliffe fellowships. She lives in Cambridge, Massachusetts with her husband, literary critic James Wood; they have two children. Her latest novel, This Strange Eventful History, is published on 23 May by Fleet.

From female art trailblazers to playful performance fests, a ridiculous funk wannabe to a clubby Argentinian dance spectacular, our critics pick the arts events that will light up your summer

National Treasures
Twelve museums across the UK, closing dates vary
Turner’s The Fighting Temeraire visits Tyneside, Artemisia Gentileschi shows at the Ikon in Birmingham and Caravaggio goes to Belfast in this epic tour of paintings from the National Gallery. The revered London museum has collected art for the nation since 1824 and this celebration sees its masterpieces more widely spread than ever. Jonathan Jones

3Arena, Dublin
Returning for their first concert since the death of Sarah Harding, old lyrics now have new poignancy – but with motorbikes and mic-stand moves, the mood stays upbeat

Eleven years have passed since Girls Aloud performed together as a five-piece for the final time, but adoration has endured in the interim – perhaps even intensified in the glow of 00s nostalgia. The group not only hauled themselves out of TV talent show Popstars: The Rivals, but then had 20 back-to-back UK Top 10 hits, four of them chart-toppers. As well as the strength of their voices, and their bubbly and even occasionally lairy personalities, their acclaim came from collaborations with Xenomania, the production team who took 60s girl group tropes and kitsch, and warped them through 21st-century sonics.

One of the quintet, the effervescent Sarah Harding, died of complications from breast cancer in September 2021, at the age of 39. Devastated by the death of their bandmate and friend, plans to mark Girls Aloud’s 20th anniversary were paused.

The singer on eating junk food in bed, a $100k holiday he didn’t even go on, and the perks of fame

Born Montero Lamar Hill in Georgia, Lil Nas X, 25, rose to fame in 2019 with his single Old Town Road, which won many awards, including two Grammys. In 2021, he released his debut album Montero, which featured the hits Montero (Call Me By Your Name), Industry Baby and Thats What I Want. The following year, he completed his first worldwide tour. The documentary Lil Nas X: Long Live Montero – directed by Carlos López Estrada and Zac Manuel and released on digital platforms on 20 May – sees him navigating issues of identity, family and acceptance as he embarks on the tour. He lives in Los Angeles.

When were you happiest?
Maybe on tour when I was in Argentina. Yeah, or Brazil: oh my God, those people out there.

John Krasinski and Ryan Reynolds go family-friendly in their new imaginary-friends comedy, while the singer swaps introspection for lust on her long-awaited new album

If
Out now
In what has to be one of the more enviable showbiz lives, John Krasinski has played Jim in The Office, married Emily Blunt, and written and directed acclaimed horror franchise A Quiet Place. Now he turns his hand to family entertainment, writing and directing this part-animated fantasy about imaginary friends made visible with a little help from Ryan Reynolds and Steve Carell.

Hotel surveillance cameras at InterContinental Hotel in Los Angeles captured incident Combs had vehemently denied

A newly released video shows Sean “Diddy” Combs manhandling and kicking singer Cassie Ventura – his former girlfriend – in plain view of hotel surveillance cameras in 2016, before the rapper, music producer and businessman rapidly settled a lawsuit that she brought against him this past November, according to footage exclusively obtained by CNN.

The video in question illustrates in the most graphic nature possible one of the beatings alleged and described in Ventura’s lawsuit, which Combs had vehemently denied.

Firm run by the ‘Ticket Queen’ sold tickets worth more than £6.5m on sites including Viagogo and StubHub

Ticket touts who conspired to “fleece” fans of artists including Ed Sheeran, Liam Gallagher and Lady Gaga have been jailed for operating a “fraudulent trading” scheme worth more than £6.5m.

Judge Batiste sentenced four touts, who fraudulently bought and sold hundreds of tickets through a business called TQ Tickets, to up to four years in prison each on Friday.

Big-name ballet dancers and rising choreographers have found a new home in the superclub where the after-party goes on until 5am

“It’s the easiest rider we’ve ever done,” says the Ministry of Sound’s Mahit Anam. “Normally it’s five bottles of Patrón, four bottles of vodka … ” And this time? Water, bananas and protein bars. It’s not your usual green room at the south London superclub, because this is not your usual show: the dancefloor is about to be taken over by professionals. Ballet Nights – a monthly production usually held in a Canary Wharf theatre and featuring the country’s top ballet stars and rising choreographers – is moving into clubland. So now amid the speaker stacks and DJ decks you’ll see Royal Ballet dancer Joshua Junker and work from Olivier award-winning choreographer James Cousins. It’s a whole different kind of podium dancing.

“Everything’s got too formulaic, too samey, and that’s why we want to do this stuff,” says Anam. “Pushing boundaries is something we should always be doing.” Ballet Nights was hatched by former Scottish Ballet soloist and choreographer Jamiel Devernay-Laurence in 2023. The idea was to give audiences an up-close view of big-name ballet dancers like Steven McRae and Matthew Ball as well as nurturing a stable of young artists. But he was itching to expand, and eager to attract younger audiences, people who are the same age as the dancers who perform. Devernay-Laurence had met with all sorts of venues – theatres, concert halls – and it was always a “let’s talk again in the future” situation. But when he walked into Ministry of Sound: “They had open arms, they were so excited. We walked out the same day with an agreement and a date.”

Ballet Nights is at Ministry of Sound, London, on 31 May

Enlarge / The Sony Music letter expressly prohibits artificial intelligence developers from using its music — which includes artists such as Beyoncé. (credit: Kevin Mazur/WireImage for Parkwood via Getty Images)

Sony Music is sending warning letters to more than 700 artificial intelligence developers and music streaming services globally in the latest salvo in the music industry’s battle against tech groups ripping off artists.

The Sony Music letter, which has been seen by the Financial Times, expressly prohibits AI developers from using its music—which includes artists such as Harry Styles, Adele and Beyoncé—and opts out of any text and data mining of any of its content for any purposes such as training, developing or commercializing any AI system.

Sony Music is sending the letter to companies developing AI systems including OpenAI, Microsoft, Google, Suno, and Udio, according to those close to the group.

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Barclays’ analysis may be slightly off the mark, but the megastar is tapping into a new trend in spending

Taylor Swift has long been credited with an outsized influence on music, celebrity culture – even politics. But reviving the UK’s flagging economy may be too much to ask, even of the sequinned megastar.

Research published this week by analysts from Barclays pointed to the extraordinary spending surge that ensues when Swift touches down, and suggested she could bring a £1bn boost to the UK.

The country has been hit by decades of crises and catastrophe, but its culture continues to thrive across the diaspora. Here, Haitian musicians celebrate its ’sounds of freedom’

Even before March this year, when gun-toting gangs overran the Haitian capital of Port-au-Prince, dictatorships, poverty, health crises and earthquakes had defined the country in the eyes of global media. It passes for the archetypal failed state, a place where Unicef has declared that 3 million children urgently need humanitarian aid. Yet there is an alternative to this narrative of disaster and chaos: the beauty of Haitian culture. Music and visual art remain enduring symbols of hope.

Over the years, the population and its diaspora in North America have been extraordinarily creative. In the 80s, Jean-Michel Basquiat, whose father was Haitian, took the art scene by storm with his outre graffiti, otherworldly painting and barbed political commentary, while today Haitian-born artists Myrlande Constant and Frantz Zephirin are producing exhilarating canvases. Between the 1950s and 80s, musicians Nemours Jean-Baptiste, Coupé Cloué and Boukman Eksperyans excelled in genres such as compas, manba and rasin, which all have entrancing dance rhythms derived from Africa and provocative lyrics in the Creole language born of contact between French settlers and enslaved people.

Glyndebourne, East Sussex
Opening the 2024 festival, Diane Paulus’s staging relocates Bizet’s tragedy to a grim present day. Rihab Chaieb is a strong Carmen, Dmitry Cheblykov’s Escamillo shines but Dmytro Popov’s José doesn’t convince

‘A woman of deep courage and life and vitality who is struggling against the system for her freedom and will scale anything for that,” is how US director Diane Paulus describes Carmen in a programme interview for her new staging of Bizet’s masterpiece.

The production, which opens this year’s Glyndebourne festival and dominates it with a season-long, double-cast run is an uneven piece of theatre, unsubtle and in-your-face where Bizet, one of opera’s great realists, is complex and probing, and at times curiously passionless for a work that can still present enormous challenges in its depiction of the irrational nature of desire.

V&A, London
From glossy celebrity portraits through raw news shots to AI-driven abstracts, this epic show captures half a century of iconic images

The latest exhibition of works from Sir Elton John and David Furnish’s gargantuan photography collection is everything you’d expect it to be: spangly, iconoclastic – and a little bit basic. The entry point to the V&A’s largest ever exhibition of photography promises, as the title Fragile Beauty suggests, the frisson of danger in the pursuit of creating something beautiful: the first shot that greets us is a portrait of beekeeper Ronald Fischer, skin crawling with his beloved insects. Richard Avedon found Fischer by putting an ad in the American Bee Journal. He issued two instructions to his sitter: don’t smile and don’t move. Remarkably, Fischer was only stung four times.

The Avedon portrait smacks you in the face with the premise of this show: suffering for one’s art (or making others suffer for it). The seemingly never-ending exhibition unifies 300 works drawn from about 7,000 in the collection, but it is far more personal than the 2016 Radical Eye show at Tate, moving from the 1950s to now, and so spanning John’s own life, as well as the couple’s enduring interests.

(Verve)
Mercurial and moody soundscapes are infused with wistful romance in one of the Grammy-winning singer and composer’s most spirited records to date

Few singers can match the delicate warmth and quiet power of Arooj Aftab’s voice. Over the past decade, the Pakistani-American singer has released four albums that showcase her gossamer cadence in ever-quieter settings, from jazz to Sufi qawwalis and finger-picking folk. Her debut Bird Under Water in 2014 paired Urdu poetry with sitar and drums, while 2021’s Grammy-winning breakthrough Vulture Prince replaced percussion with lively strings, and 2023’s collaborative record Love in Exile with Vijay Iyer and Shahzad Ismaily used only synth trills and piano to create an ambient backing for Aftab’s whispers.

If she were to continue on the same trajectory, fifth album Night Reign might be so subtle as to verge on silence. Yet, across its nine tracks, Aftab presents one of her most spirited and experimental records to date, aiming to embody the nocturnal setting that provides the inspiration for her music.

She’s won two Brits and rivalled Dua Lipa and Adele for streams, but the public is still getting to know the ex-reality TV singer. She explains why snobbery has held her back, but trauma won’t

Becky Hill Hill glides up on an ebike in full pop star clobber: leather flares, black strap top with enormous silver buckles, immaculately tousled hair, light green contacts that bestow a feline air. We were supposed to be meeting at her tour manager’s flat in London, so she seems slightly alarmed when I approach her on the street. It’s a feeling that quickly becomes mutual: as we wait to be buzzed inside, Hill directs most of her chat towards her phone screen or the wall. I wonder, perhaps, if she is all interviewed out; she is now knee-deep in promo for her second album, Believe Me Now?. “Well, the job is 80% press,” she says, matter-of-factly, once we are safely on a sofa inside. “But I wouldn’t want it any other way,” she adds, unconvincingly.

Hill is one of the UK’s most successful musicians. She has two Brit awards and 12 Top 20 singles to her name, an almost sold-out arena tour in the pipeline and some incredible listening stats (in 2021, she was the third-most streamed British female solo artist after Adele and Dua Lipa). Yet while her instantly memorable dance anthems have soundtracked the big nights out of millions of Britons, the 30-year-old is keenly aware that she doesn’t have the public profile to match her vocal ubiquity.

(A24 Music)
Cult film company A24’s tie-in merch to its rerelease of seminal documentary Stop Making Sense sounds either like karaoke or disconnected from the source material

Responsible for indie hits like Midsommar, Moonlight and Everything Everywhere All at Once, American film company A24 has created a vast lifestyle brand around its cultish reputation, flogging everything from branded shorts ($48) to a Hereditary gingerbread kit ($62). Now, following its rerelease of Jonathan Demme’s seminal Talking Heads documentary Stop Making Sense, its tie-in merch includes a tribute album, featuring all 16 tracks from the film’s soundtrack covered by appropriately vogueish musicians.

The tracks largely use one of two distinct approaches. The acts choosing a karaoke-esque run-through include Toro y Moi (Genius of Love), the National (Heaven) and Paramore, whose faithful version of Burning Down the House includes a barnstorming vocal from Hayley Williams, but isn’t particularly compelling.

The Generation X punk turned arena rocker answers your questions on near-misses in Hollywood, his overlooked electronic period and how Marc Bolan helped launch his career

Is it true that you stole the master tapes to the Rebel Yell album during a spat with the record label? VerulamiumParkRanger
It was because of the cover. I was saying: “There’s a flaw in this picture, and if we blow this up it will get worse.” The record company started to say: “We’re leaving it. It’s not that bad.” I just thought: “I’m just not going to let this happen. It’s so silly. They just need to reprint the picture. I’m not listening to what the record company guys say. In fact, I’m gonna blackmail them.” So I went down to Electric Lady in the middle of the night and got to where I knew the tape boxes were. I took them and left the studio and gave them to my heroin dealer. And then I phoned the record company and said: “This guy I’ve given them to, he’ll have them out on the street bootlegged in a couple of days if you don’t change this picture.” And they relented. Don’t let them walk all over you.

Your 1990 motorbike smash prevented you from starring as the T-1000 in Terminator 2: Judgment Day (although somewhat ironically your post-accident surgery saw you fitted with your own steel framework). Do you still suffer regular aches and pains as a result of the LA crash? McScootikins
Not too bad. There’s something going on with my right foot. It’s not the same as my left foot. So there are ramifications from it, but you can fix them by wearing certain insoles in your shoes and things like that. The injury was in the middle of the lower part of my right leg, so it was something they could fix. I loved [director] Jim Cameron. I just know he would have got the performance out of me. I would have done whatever he said. It might have opened a lot more doors and it’s such a shame. But sometimes drug addiction messes things up. That’s what led to the motorcycle accident, really.

Hannigan/Chamayou
(Alpha)
The superb projection of Hannigan’s voice and the rainbow of colours in Chamayou’s piano lay bare the sexual desire and religious fervour prevalent in Messiaen’s early works

Olivier Messiaen wrote just three large-scale works for voice and piano. The most substantial, Harawi, composed in 1945 as the first part of a trilogy of pieces built around the medieval legend of Tristan and Iseult, was the last of them, while the two cycles that Barbara Hannigan and Bertrand Chamayou have recorded are early works: Poèmes pour Mi was completed in 1937 while the less well known Chants de Terre et de Ciel followed the next year. Both have texts written by the composer himself, characteristically mixing religious imagery with personal references: the Poèmes were dedicated to Messiaen’s first wife, the violinist and composer Claire Delbos, while Chants celebrated the birth of the couple’s son Pascal.

Hannigan’s silvery, flexible sound may lack the sheer heft of the “dramatic soprano” that Messiaen specifies for both cycles, but the way in which she uses her voice and her superb projection of the French texts are more than adequate compensation. In fact, it’s hard to imagine a weightier voice bringing such beguiling, soft-edged intimacy to parts of each cycle as she does. Alongside her, Chamayou finds a rainbow of colours in Messiaen’s piano writing, and as a bonus they add the rarely heard La Mort du Nombre, a 10-minute cantata for soprano, tenor (Charles Sy), violin (Vilde Frang) and piano that Messiaen wrote in 1930. The text, again by the composer himself, depicts two souls expressing their sadness at being separated, the tenor urgent, anguished, the soprano patient and reassuring – the mingling of sexual desire and religious fervour that would be such a big part of Messiaen’s music for the next two decades.

(Darkroom/Interscope Records)
On this deeply involving third album, Eilish once again breaks the rules for arena-filling artists: it’s subtle and understated, yet jars the listener with eerie show tunes and explosive noise

Billie Eilish’s third album opens with a track called Skinny. It features a hushed electric guitar figure supporting a lyric filled with very Billie Eilish topics: bitter recriminations about a failed relationship, body dysmorphia, depression and the pressures of finding vast global fame while barely out of your teens. The latter was a theme that preoccupied Eilish’s last album, 2021’s Happier Than Ever, a grimly believable depiction of adolescent stardom in a world of constant online commentary and confected controversy. With its marked shift in image and sound, it succeeded in creating yet more commentary and controversy. That album’s reception is another topic that seems to haunt Skinny. “Am I acting my age now?” she wonders aloud. “Am I already on the way out?”

It’s presumably a reference to the fact that Happier Than Ever sold noticeably less than Eilish’s debut, When We All Fall Asleep, Where Do We Go?: it only went platinum in 10 countries as opposed to 16. And perhaps also to the idea that, with its relative lack of the kind of electro-goth bangers that had propelled her to fame, and her accompanying transformation from baggy skateware-clad sulker to vampy 50s blonde, Happier Than Ever had lost the room.

Bridgewater Hall, Manchester
Stephen Hough’s new, nostalgia-themed work enjoyed its European debut with Mark Elder and the Hallé very much on form in their final months together

Stephen Hough’s new piano concerto, first performed in January by the Utah Symphony, arrived in Europe with the composer as soloist, partnered by Mark Elder and the Hallé. The concerto’s subtitle, The World of Yesterday, borrowed from the memoir of the same title by Stefan Zweig, suggests an exploration of musical nostalgia, as Hough acknowledges in his programme note; he draws a parallel with the pianist-composers of the years between the two world wars, such as Bartók, Prokofiev and Rachmaninov, for whom their own concertos became, in Hough’s words, “a visiting card on the road”.

Hough hardly needs such a visiting card, and his neatly proportioned work, in three linked movements, is much more than a vehicle for his pianism. But it does look fondly backwards, though in ways that never seem derivative. The “white-note” orchestral opening might hint at the wide open spaces of 1930s Americana, but its themes are filtered through a much more acerbic harmonic palette in the hefty solo cadenza that follows. A set of variations on one of those themes, a wistful waltz (recalling a Bill Evans number, Hough suggests), carefully blends the extrovert and the intimate and provides the concerto’s centrepiece, before Hough allows himself the luxury of some virtuoso showing-off in the final tarantella.

(Domino)
In the Portishead singer’s singular, astonishing soundworld, these songs sit in autumnal gloom but are occasionally dappled with warmth and light

No one is ever going to accuse Beth Gibbons of over-exerting herself in the rapacious pursuit of fame: her solo debut arrives 22 years after her collaboration with Rustin Man, Out of Season, 16 years after the last Portishead album, Third, and 11 after it was first announced.

In fairness, Lives Outgrown has a unique sound you suspect was only arrived at after lengthy experimentation. The Rustin Man album echoes through the acoustic guitar and folky melody of Tell Me Who You Are Today, and on Reaching Out; so do the hypnotic rhythms that underpinned Third’s We Carry On and The Rip. But Lives Outgrown ultimately draws you into a soundworld entirely its own. Strings play mournfully low and squeal discordantly; the snare-free drumming resolves into a Bo Diddley beat on Beyond the Sun, and elsewhere rumbles ominously, like the last sound you’d hear before being ritually sacrificed.

The US secretary of state, who performed with a Kyiv band in a bar this week, is the latest musically inclined politician to hit the stage

Name: Rocking politicians.

Age: The latest example of the trend came on Tuesday night, in a basement in Kyiv.

"I think it started as a joke. The songs were good, but there was definitely a feeling of, like, Yeah, Creed!" he tells me. "But then, next thing you know, you find yourself in your car, alone, deciding to put on Creed." "I hated Creed. I thought they were terrible," says Mike Hobey, who, at 28, is the oldest of the posse and therefore the one who possesses the clearest recollection of Creed's long, strange journey toward absolution. "But then I started listening to them ironically. And I was like, Oh, shit, I like them now."

• Drake was shamed into recognizing a son he had with an adult entertainer in a diss by Pusha T in 2018
• Drake's initial response to Like That was Push Ups, which had what could be interpreted as a reference to Kendrick's long time fiancé. He rapidly followed up without waiting for a response with Taylor Made Freestyle, which was almost jocular in tone and pulled after Tupac's estate threatened to sue over unauthorized use of AI-generated vocals in his style.
• After releasing euphoria, Kendrick took a page from Drake's book and shot off a 2nd diss track, 6:16 in LA.
• Drake replied with Family Matters within a day, to which Kendrick fired back within minutes with meet the grahams where he implies an unrecognized daughter of Drake's. It's likely both circles are leaking like sieves and had responses prepared.
• The latest from Kendrick, Not Like Us, is deeply personal in its rancor and makes life ruining accusations. The cover image is of Drake's house on Citizen App, filled with labels of child predators. People have been shot for less.

You could call them "sky flowers," but that doesn't really make sense either—after all, the faded blue behind each squiggle is water, not sky, and the squiggles themselves don't represent solid objects in any tangible, meaningful way. But they look right. The reds and greens and yellows add life and color in a way that a flat blue might not. Those odd shapes, suspended motionless with no clear reason or value, establish a tone. There are a lot of things that don't make sense on SpongeBob SquarePants. But there's a clear and coherent vision that runs through the entire show, from the design of SpongeBob's kitchen-sponge body down to the squeaky-balloon sound of his footsteps. It's a perspective, and a warm, specific, crazy little world. Of course it has sky flowers in it. What else would be up there?

Season 1: part one - part two - part three Season 2: part one - part two - part three - part four Season 3: part one - part two - part three - part four

Like all postmodern "texts", Spongebob Squarepants doesn't deny the absurdity of existence. The show is filled with absurd and surreal moments, far too many to describe here. And as a postmodern show, Spongebob has its nihilistic moments as well. One in particular that stands out is from season three's episode "Doing Time", when Spongebob and Patrick attempt to break Mrs. Puff out of jail. After she refuses to leave, Spongebob wonders to Patrick if maybe she'd forgotten what it's like to "live in the outside world". The scene then cuts to a montage of typical postmodern malaise — a man (fish, rather) going to work, sitting in rush hour traffic, then gazing dejectedly out of his window as a woman asks if he's coming to bed. Depressing, hopeless, and completely nihilistic, this moment reminds viewers of their own mortality and the dangers of routine... or, if you're just a kid, you'll realize that being an adult can suck.

On Monday, SpongeBob SquarePants creator Stephen Hillenburg died after a recent diagnosis with ALS. Nickelodeon confirmed the news on Twitter Tuesday afternoon. What followed was an outpouring of grief for the man behind one of the most recognizable and beloved cartoon characters of all time. [...] Through his show, Hilleburg was an evangelist of sorts for the unstoppable power of positive thinking, which he usually dramatized with absurd scenarios. Think of the time SpongeBob sculpts a perfect marble sculpture with a crack of the chisel, or when he wins a fast foodery face-off against the Flying Dutchman—the undead daddy of burger grilling—with the special ingredient of love. SpongeBob tackles everything in life—work, driving school, friendship, pain, lifeguarding, climate change—with a level of zealous breeziness usually reserved zen monks and six-year-old kids.

It's hard to overstate just how popular SpongeBob SquarePants memes are. On Reddit, r/BikiniBottomTwitter — which exists mainly so that people can screencap the memes from Twitter and share them on Reddit — has more than 1.7 million subscribers, making it one of the site's most popular meme subreddits. (By comparison, the more general r/Spongebob subreddit only has 74,000 subscribers.) And SpongeBob memes don't just appear and then die; as Digg's editors noted in the site's 2018 SpongeBob retrospective, the biggest SpongeBob memes "are all pretty much meme superhits. There are no deep cuts here." What exactly is it about SpongeBob memes that make them so enduring and enjoyable?

Season 1: Opening Theme - Livin' In The Sunlight, Lovin' In The Moon Light - Ripped Pants - Jelly Fish Jam [CW: flashing lights] - The F.U.N. Song - Doing the Sponge - I Wanna Go Home Season 2: Loop de Loop - This Grill is Not a Home - Sweet Victory - Hey All You People - Hey Mean Mr. Bossman [Happy May Day, btw] Season 3: Striped Sweater - Electric Zoo - Underwater Sun - When Worlds Collide - You're Old - The Campfire Song Song

Help Wanted (S1E1): Reimagined as a collaborative ReAnimation and as a black-and-white classic cartoon Pizza Delivery (S1E5): This Is What A Perfect Episode Of Spongebob Looks Like - A whole playlist of live-action remakes SB-129 (S1E14): How Spongebob Explored Existential Nihilism ("SB-129") Rock Bottom (S1E17): "Rock Bottom" reimagined as a Gothic claymation - Podcast discussion Hooky (S1E20): The Powerful Message In This Episode of Spongebob: Don't Get "Hooked" On Drugs Squirrel Jokes (S2E11): The Smartest Episode of Spongebob Squarepants (an Analysis) Shanghaied (S2E13): Live-action remake Band Geeks (S2E15): Band Geeks Is The Best Spongebob Episode - Band Geeks ReAnimated - the disappointing Super Bowl LIII cameo (and the improved LVIII version) Procrastination (S2E17): This SpongeBob Episode Will Make You Stop Procrastinating Sailor Mouth (S2E18): SpongeBob SwearPants: A Look At Moralization Of Swearing - Why "Sailor Mouth" Was So Controversial Squidville (S2E26): Spongebob's Darkest Episode Wet Painters (S3E10): Bubbles of Thought - Full storyboard recap Krusty Krab Training Video (S3E10): The Brilliance of Krusty Krab Training Video - Live-action remake Chocolate With Nuts (S3E12): Live-action (puppet!) remake Graveyard Shift (S3E24): How 'Nosferatu' turned up in SpongeBob SquarePants - Why a Painting of SpongeBob SquarePants Just Sold for $6 Million

I DON'T NEED IT - How to blow a bubble - FIRMLY GRASP IT - 1% Evil, 99% Hot Gas - The gang's all here - We serve food here, sir - Krusty Krab Pizza - The pioneers used to ride these babies for miles - He's just standing there... MENACINGLY - Are there any other Squidwards I should know about? -Too hot... Too wet... Toulouse Lautrec - Everything is chrome in the future! - Photosynthesis -"MY LEG" - Advanced darkness - Steppin' on the beach - You used me... for LAND DEVELOPMENT - Stop starin' at me with them big ol' eyes - Have you finished those errands? - The story of the Ugly Barnacle - "No, this is Patrick" - Leif Ericsson Day - The boy cries him a sweater of tears, and you kill him - Ravioli Ravioli, give me the formuoli - Freeform jazz - That's OK, take your time - WHO ARE YOU PEOPLE - What I learned in boating school is... - Going on dry land - How does he dooo that? - DoodleBob - The inner machinations of my mind are an enigma - Is mayonnaise an instrument? - Flag twirlers - BIG... MEATY... CLAWS - That's his... eager face - Sweet Victory - Nosferatu! - - Sentence enhancers - Bold and Brash - MY NAME'S... NOT... RIIICK! - One Eternity Later... - Push it somewhere else - I'll remember you all in therapy - The Magic Conch - You like Krabby Patties, don't you, Squidward? - We've been smeckledorfed! - IMAGINATION - Wumbo - Smitty Werbenjagermanjensen - Striped Sweater - The French Narrator's time cards - Welcome to the Salty Spittoon, how tough are ya? - Weenie Hut, Jr.'s - The world's smallest violin - A clever visual metaphor used to personify the abstract concept of thought - Robots have taken over the world! - Spongebob and Patrick as parents - We're not cavemen -- we have technology! - HOOPLA! - Maximum Overdrive - It's time for the moment you've been waiting for - CHOCOLATE - Is your mother home? - Flatter the customer! - Mermaid Man and Barnacle Boy - What do you normally do when I'm gone? - That's a 4/4 string ostinato in D minor! Every sailor knows that means death! - Are you feeling it now, Mr. Krabs? -

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