The interview above reminded me: one thing that cooled my connection to TBK was how deeply submerged in Christian minutiae the whole thing seemed to be, even by Tori's standards.
Every story she told while promoting it seemed to come back to her explaining "You see, in the Bible it says XXXX, but actually it should've said XXXX+a". Now obviously, Christianity runs right through her music and philosophy (was there some family connection? I forget) and it would be completely missing the point to object to that in any way, but I think there was a significant change of gear with TBK - like its entire concept was built around Tori's Mission To Save Christianity, instead of breaking away from it.
Sure, the gnonstick gospels have been in the mix all along - even I have a copy of The Bloodline of the Holy Grail (not a patch on the Monthy Python version TBH) - but where "I think the good book is missing some pages" was a notion it was easy to align with as someone from a religion-free background, "I think the good book had a paragraph removed from page 38137 ... and here it is: Mayrays! Hawks not Hawks! Light the lamp for erryone!", while coming from a similar root... well it's a different thing to be articulating.
So while I could easily empathise with her previous religious/rebellious songwriting because I had very similar things to rebel against, TBK wants to fix "our" religion, and I felt excluded from that dialogue. I guess that can be called maturity as her anger moved to engagement, but it wasn't something I could get so personally involved with, particularly as I was immersed in Philip Pullman and Richard Dawkins then - it seemed very odd that she didn't engage with their output - especially Pullman's at that time.
Sha na na na.