Katniss, and other kids old enough to really hate their pop culture names

NAMING your child after a once-popular TV show or celebrity was always stupid, and now the poor victim is old enough to hate you for it. These were a mistake: 

Joffrey, from Game of Thrones

Children really have been called this, presumably sounding slightly posh overshadowed Joffrey being a psychopath who sadistically murdered a prostitute with a crossbow. Tyrion would have been better, at least he’s only a Machiavellian smartarse.

Taylor, from Taylor Swift

Naming your child after the biggest female artist on the planet feels obvious and lazy, but at least she’s stuck around. It’s better than naming a kid after 2011 chart favourites Dappy, Pixie Lott or Military Wives with Gareth Malone.

Katniss, from The Hunger Games

She brings down a whole unjust society, so that’s unfair pressure on a youngster. Also Katniss, actually a type of plant, is a silly name only chosen to sound futuristic and sci-fi. The parents might as well have followed their true desires and named you Neon Genesis Evangelion.

Hermione, from Harry Potter

Dated, but still a fairly acceptable middle-class name like Annabelle or Charlotte. Except that you’re undeniably named after the Hogwarts Hermione. Being told ‘Do Wingardium Leviosa!’ every time your bag’s thrown on top of the science block will make a child resentful.

Leo, from Leonardo DiCaprio

Used to be okay because back in the 2010s he was a famous, talented, 30-something actor. Now he’s 51 and noted for shagging much younger women. Your son’s classmates may well opt for the nickname ‘Paedo’.

Neo, from The Matrix

Neo is iconic but the franchise is old and considered a bit shit now, so your son is bound to face some mockery. And when bullied, he can’t use his deadly blend of martial arts and bullet time to scythe down his opponents because he does not know kung fu, and will get his head kicked in.

Neytiri, from Avatar

Proves your parents are morons who thought a simplistic CGI blockbuster full of ‘natives are spiritual and close to nature’ bollocks would have staying power. Yes, people watch the sequels. No, nobody knows a single character’s name.

Zooey, from Zooey Deschanel

Your daughter will be justifiably annoyed at being placed under lifelong pressure to be a manic pixie dream girl. Even if she bows to it a string of failed relationships await, because guys quickly realise manic pixie pain-in-the-arse is more accurate.

Dexter, from Dexter

Being named after a fictional vigilante serial killer is bad on many levels, not least nominative determinism. However much a fan of anything you are, automatically naming your child after it is not good parenting. Otherwise children of Warhammer dads would be named Adeptus and Necron, which they’re not. Yet.

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Blur, and other bands who followed popular success with albums recorded up their own arses

HAD a hit? Enjoying the money and blowjobs, but feel it does not adequately reflect who you are as artists? Then record your next album in your own colon, like these: 

Blur by Blur, 1999

Made rich men by faux-Cockney anthems but beaten in the Britpop wars by Oasis, Blue felt they’d earned the right to tit about in a Reykjavik studio then release the aimless noodling and see what happened. The singles had tunes, but the rest of the formless jams made you yearn for the grating oompah posturing of Country House.

Tranquility Base Hotel & Casino by Arctic Monkeys, 2018

After a decade of beautifully observed kitchen-sink vignettes and success, Alex Turner was bored with it. As a nice change, his band recorded an entirely unrelatable album of mock-grandiose lyrics over a parody of 60s lounge jazz. Then, because that didn’t quite lose them all their fans, they did another one the same but worse. That did it.

Their Satanic Majesties Request by The Rolling Stones, 1967

They were the cooler, edgier Beatles, neck-and-neck for chart domination. Then the Stones threw it all away with an album of hippy twaddle containing all the studio wankery of British psychedelia but without any of the charming whimsy or the tunes. Thankfully the sensible influence of Bill Wyman prevailed thereafter, and they did what they were good at.

Adore by the Smashing Pumpkins, 1998

Never far from their arses at the best of times, Billy Corgan responded to becoming one of the biggest rock acts in the world with an album combining folk with electronica to capture both ‘the ancient’ and ‘the future’. Nobody really liked it and it confirmed his view he was a doomed, useless loser whose fans were braindead philistines, so everyone was happy.

Tusk by Fleetwood Mac, 1979

After recording Rumours, an album so popular your Gen Z cousin is vibing to it even now, the Mac naturally followed it up with a double-album of experimental weirdness including home demos and a marching band. After which, as is traditional, everyone f**ked off to do solo albums before reforming to do 80s soft rock for tax reasons.

Kid A by Radiohead, 2000

Desperate to shake off the trappings of commercial success, the boys released an idiosyncratic record full of cut-up vocals, free jazz, and entirely devoid of soul. Sadly, the attempt to slink back into obscurity backfired spectacularly when, with crushing inevitability, the public lapped it up. ‘Sometimes you’re too big to fail,’ sighed Thom Yorke.