I have a lot of fondness for Sarah Chalke because of Scrubs, but I’m struggling to think of anything I’ve liked her in other than Scrubs. She was pretty good in the second Psych movie, I guess.

I wonder if there’s a larger dynamic here where the democratization of information has largely neutered our traditional gatekeepers to the point where those same gatekeepers feel obliged to give almost everyone a hearing. A few years back my local newspaper — in an extremely liberal college town — published a letter…

The CNBC/creepy twins sketch also indulged in one of favorite SNL tics, the random, one-off hostile joke designed to get a laugh during the necessary but tedious introduction/exposition stage of a sketch.

“Were you a C-section birth? Because your head shape is perfect.”

Season three is going to conclusively prove that fit hot guys have problems too.

I definitely tended to zone out on the central mystery of most episodes about halfway through, and then they’d do the big reveal at the end of the episode and I’d have to scramble to remember who the hell most of these people actually are.

I wonder sometimes about the unwillingness on the part of screenwriters and directors to portray a fundamentally reasonable argument. I don’t know if it’s a deliberate thing (“This is a movie, and we need a clear good guy and a clear bad guy, so make this dude as asshole”) or just a genuine inability to write a…

I always felt this way about Psych, which was great but had the original sin of being structured as an hour-long crime procedural instead of a half-hour sitcom. 

One of the things I like about Silence of the Lambs and the Fuller Hannibal series is that, once you get Hannibal Lecter behind bars, he uses all of his intellectual brilliance and world-class psychological training to become a shady bitch. Like, yes, this guy is a serial killer and a cannibal and in the Fuller series…

There really is no feeling on Earth quite like drawing everyone’s attention to your joke or bit and having it just die a miserable death. 

“Sorry, Pancho, these illegals are mine” feels like an early frontrunner for Worst Movie Dialogue of 2021. 

I’ve thought for a while that it might be pretty funny to have Deadpool show up in a mainline Marvel movie and discover that he literally can’t curse.

The story of Khashoggi’s colleague Omar Abdulaziz, who fled Saudi Arabia and has since resisted entreaties from MBS emissaries to come home for what they’ve assured him will be a friendly meeting with the prince.

It certainly seems like it’s just going to be “Generic Serial Killer Procedural, With a Character Who Has The Same Name as This Other Character From a Movie You People Like.”

I actually think that was one of Aristotle’s principles of drama.

I believe I spotted the awesome Vella Lovell in one of the commercials for Mr. Mayor.

It’s amusing! Admittedly I’m a sucker for anything in that distinctly 40's style, but it worked for me. Also a smart choice to keep it short and to the first verse -- that would have worn out its welcome fast if she had tried to do the whole song like that. 

There’s an interesting idea, I think, in the concept of an action hero reconnecting with his estranged wife and family due to his work saving the world, and then we come back for the sequel and it turns out that they’re miserable again, because all the same issues are still there.

*dramatic guitar riff*

I think just about every bookish, romantically frustrated young man has a bit of Harold Lauder in him, which is why the character is so effective. Most people are just able to grow out of it with time and some personal improvement.