Talk:Screen Violence

GA review

This review is transcluded from Talk:Screen Violence/GA1. The edit link for this section can be used to add comments to the review.

Nominator: Mir Novov (talk · contribs) 08:03, 19 November 2025 (UTC)

Reviewer: IanTEB (talk · contribs) 02:26, 28 May 2026 (UTC)

GA review (see here for what the criteria are, and here for what they are not)
It is reasonably well written. a (prose, spelling, and grammar): b (MoS for lead, layout, word choice, fiction, and lists): It is factually accurate and verifiable, as shown by a source spot-check. a (references): b (citations to reliable sources): c (OR): d (copyvio and plagiarism): It is broad in its coverage. a (major aspects): b (focused): It follows the neutral point of view policy. Fair representation without bias: It is stable. No edit wars, etc.: It is illustrated by images, where possible and appropriate. a (images are tagged and non-free images have fair use rationales): b (appropriate use with suitable captions):
Overall: Pass/Fail:
· · ·

Background

• It would be good to add years to Love Is Dead and "Here with Me",

 Done

• closer to pop music — the source says "they leaned into pure pop" so 'closer' could probably just be dropped

 Done

• New Zealand Herald [2], Slate [4], Telegraph (5) all have subscription or registration walls that should be indicated in the citation

 Done

• After collaborating with Marshmello on "Here with Me", the band criticised him working with Chris Brown and Tyga due to sexual abuse allegations — I found it a little confusing who was accused of abuse with this wording. I think 'the band criticised him for with Chris Brown and Tyga despite sexual abuse allegations made against them' might be clearer.

 Done Changed.

• Meanwhile, songwriter and instrument player Martin Doherty - it took me a while to understand that Doherty was a band member, since the sentence before discussed external artists.

Clarified.

• Sources checked: [1] (AllMusic), [3] (DIY)

Recording

• an discarded name - 'a discarded'

 Done

• Production began in 2020 - Skinny [6] specifically mentions February 2020

 Done

• the album was continued remotely, with collaboration being done via programs such as Zoom - It is usually advised against using 'with' as a connector like this (see WP:PLUSING). Regardless, 'production was continued remotely through programs such as Zoom' would be more succint.

 Done Fair point regarding succinctness.

• Mayberry focused on visual instead of sonic references to define the album's tone - what is this supposed to mean?

It means she looked at visual items (horror movies, moodboards) instead of songs to prepare for the album. On reflection though, this doesn't really fit within the section so I've changed it.

• Dork has specific studio locations

Personally, I'd prefer not to use a product listing to source things.

• Sources checked: [6] (Skinny), [7] NME, [8] Triple J, [9] Louder Sound

I would finish this review right now but it is late. A few more general suggestions would be adding archives to the sources and adding a prose Commercial performance section, which seems to be missing (or incorporating that info into Release or Critical reception). IanTEB (talk) 02:26, 28 May 2026 (UTC)

Archived the URLs. Is a commercial performance section/paragraph strictly necessary? Quite a few music GAs do not possess that; if there were sales figures or other info not available in the Charts section I'd add it but nothing of that sort seems to be available.

Composition and themes

• It has been described as having a horror theme - by who? The sources are critics

 Done Made that clear in the prose.

• with the band being influenced by the video nasty genre of horror film. In an interview for the album, Mayberry noted that women were not often centred in these movies. - this point feels a bit underdeveloped. I can't access the source so I'll ask: do the band touch on how underepresentation of women in the genre affected their incorporation of such influences into the album?

 Done Mayberry does mention this a bit in the interview, so added this.

• The band described the album's songs as "addressing feelings of loneliness, disillusionment and fear, among other emotions" - this was said by the interviewer/interview editor, and not the band

 Done

• "He Said She Said" and "Good Girls" comment on expectations around womanhood. - AllMusic only describes "Good Girls' as a "feminist synth pop anthem", not quite "expectations around womanhood"

This is in the Slant piece that you said was inaccessible to you, though I've reworded it as part of chronologically ordering the songs overview.

• "Final Girl" also explores similar issues, being a reference to the horror trope of the same name. - this would imply that the horror trope is shares its name with the issues, and not the song title
• This section in general feels a little underdeveloped. Several songs go unmentioned; as an example, several reviews describe "California", but nothing about the song is included in the article. The end result is that the section summarizes some recurring themes, but doesn't give much insight into the overarching progression of the album. It doesn't need to be Sgt. Pepper level for GA, but it would be good to expand a little bit.

Expanded.

• Sources checked: [12] (PopMatters), [15] (Pitchfork), [16] (Slant), [17] (The Guardian), [18] (Stereogum)

Release and promotion

• Lead single "He Said She Said" was - 'The lead single..'

 Done

• "He Said She Said" was released on 19 April 2021 - Rolling Stone [20] mentions that this was the band's first new release since 2018, which feels quite significant

Not sure if I agree, 4 years is a bit on the longer side but far from unheard of in terms of intervals between releases IMO.

• Kiernan also took a role as creative director for Screen Violence. - this information may not be available, but what does it mean to be 'creative director' for an album? Was he in charge of the visuals only, or did he give input on the music as well? It would also be nice if the visual style of the music videos could be incorporated here

I have expanded this a bit. Unfortunately there is little sourcing discussing the trilogy of music videos as a whole, so I am limited in what I can say about them in general terms.

• The next year, they collaborated on a guitar pedal named after the album with Old Blood Noise Endeavors - I think you mean 'collaborated with Old Blood Noise Endeavors on..'

 Done

• Sources checked: [20], [25]

More to follow. IanTEB (talk) 19:29, 28 May 2026 (UTC)

Reception

• based on a weighted average of critical reviews - you could specify the number of reviews

 Done

• Katherine St. Asaph of Pitchfork praised the variety of sonic influences of the album - more accurately, Pitchfork praised the fact that the band experimented with different influences, rather than making a safe album

 Done though I don't think my wording is that different in meaning

• Grant Sharples of Paste considered the album to be too similar to the band's past material - he also wrote that the album "falls short of reaching the exciting thrills of their earlier work"

 Done

• PopMatters praised the feminist themes in the lyrics - the source doesn't actually seem to describe the lyrics as feminist, although I might be missing something

 Done. I think that's an reasonable inference, but since it isn't explicitly supported by the text you've correct in stating it shouldn't be there.

• Sources checked: [15] (Pitchfork), [32] (Exclaim), [33] (Line of Best Fit), [34] (Paste)

Misc. and lead

• Tidal [38] gives me a 'This content is no longer available error' and I can't access it on Internet Archive either.

The ID the album is under seems to have changed for whatever reason, so I've updated the link. The new version doesn't seem to have the full credits anymore, so I've added another cite.

• Oricon [49] does not appear to include the chart position

Removed for now.

• production began in early 2020 before the advent of the COVID-19 pandemic, but continued remotely once it began - 'but' should just be 'and' here

 Done

• It was released on 27 August 2021 - clarify with 'the album'; at first I thought it was talking about the single(s)

 Done

• It received largely positive reviews from critics, who commended its composition and lyrical themes - this sort of jumps over some of the more apprehensive reviews

Based on the MC score, the majority of reviews are positive; MC itself considers it past the cutoff to recieve "universal acclaim". I have added another positive review to the prose to more accurately reflect this.

• at the NME Awards 2022 the following year - don't need to specify 'the following year' since it's already in the ceremony name

 Done

• In the infobox chronology, why is Hansa Session listed as Hansa Session EP when that does not appear to be the actual title?

A few places (e.g. AllMusic) list it as such but most don't, so changed.

@Mir Novov: Those are my comments from my first read-through. Please ping when done and I'll take a second look. IanTEB (talk) 03:35, 30 May 2026 (UTC)

Thanks for taking this on. I should be able to give this a proper look in the next few days. Mir Novov (contribs | talk) 10:02, 30 May 2026 (UTC)

@IanTEB: Should be ready. Mir Novov (contribs | talk) 13:40, 31 May 2026 (UTC)

@Mir Novov: Thanks for the quick response. This looks really good, but the lack of a prose section about the album's commercial performance still feels like a pretty significant gap in the article's coverage. It would be great if that could be added before passing. IanTEB (talk) 23:49, 31 May 2026 (UTC)

@IanTEB Added a short commercial performance section. Unfortunately I can't access any sales figures. Mir Novov (contribs | talk) 12:56, 1 June 2026 (UTC)

Article looks really good. Passing. IanTEB (talk) 02:41, 2 June 2026 (UTC)

Thanks! Mir Novov (contribs | talk) 02:54, 2 June 2026 (UTC)