No one is taking Soderbergh seriously because none of us want to believe it. Considering he just made one of his best movies, I hope he keeps on directing forever.

Considering the end of last season, you may not be too far off here.

The look in Dave Foley's eyes when Kevin McDonald brings him that giant drink in the office is nothing short of sublime. This is the sketch I saw that made me a lifetime fan of this show.

This reminds me of what I said after watching the Machete Kills trailer:

The last conversation between Steadman and Horrocks in this is one of the best things Leigh has ever directed. They're both crying and screaming at each other but the scene plays as really smart and funny.

I've never seen Chuck. Isn't he some kind of robot, like Vicki from Small Wonder?

I'm ok with more oversharing butthole talk, provided it leads to a discussion of Sunset Rubdown.

Weird. I just call my basement "the basement" instead of giving it a fancy name.

I, for one, would like to hear from Mean Joe Greene.

He was phenomenal on ER. It's kind of a shame he never did more dramatic stuff, as he has a sad stillness to him (sort of like Bill Murray) that works really well for both drama and comedy.

I was just thinking this on my way in to work, cycling through all the new music I've discovered just in the last few weeks. It's a pretty exceptional year already.

Someone should hire McBride to read a collection of Flannery O'Connor's stories.

Ha! Joke's on you—there is no spelling in Mississippi.

It's way more rewatchable than Miami Vice, for sure. Mostly for the really expressive cinematography—it's one of the few movies to accurately capture the way LA looks at night.

Yeah, I hope this isn't indicative of a larger shift here.

I find it sad that this is the 21st century movie I.V. has watched more than any other. It just doesn't seem to warrant that kind of obsessive re-watching…

I'm a much bigger fan of him killing people with his legs.

Yeah, it's nice to see a shout-out for the film which does not get enough love. Connery is great in it, though James Fox and a wonderfully deranged Ken Russell pretty much steal the whole thing.

Female Trouble is John Waters's masterpiece, and indeed an absolute blast in a theater full of people. Mink Stole playing "car accident" is one of my favorite scenes in any movie.

Chimes at Midnight is my favorite Welles film, which always sounds like a snotty thing to say because it's so hard to actually see. But the warmth you pointed out is what makes it work, and it has such a great melancholic vibe.