For me? A ton of stand-up, as well. Specifically that of John Mulaney, Patton Oswalt, Kumail Nanjiani, Eugene Mirman, Louis C.K., Ali Wong, Demitri Martin, and so forth. Same with Cracked’s After Hours, which was really fun—if under-researched at times—and whose Off Hours or whatever I don’t have any interest in. 

Even for someone as self-aggrandizing as James Cameron, marrying someone because they remind you of a character that you wrote is at least a little masturbatory. 

I love The Shining and Carrie as much as the next fella, but Stand by Me really is the strongest film adaptation of King’s work—it’s certainly my favorite King adaptation. But really, there are no shortage of standouts. Even smaller films like 1408, Misery, and The Mist are all terrific.

Maybe it’s his vampire movie. Or his... Let the Wright One In, rather.

The works of Jane Austen, no question. Virtually no other author has aged better. Her commentary is sharp, as is her acerbic wit. Yet, there’s always hope amidst Austen’s cutting passages.

Right now, Uncover’s “Escaping NXIVM” podcast seems to be the number one resource for understanding what it was. Definitely worth a listen.

I kinda hate true crime as a phenomenon. To me, it’s typically more exploitative and sensationalized than it is justified—I tend to find the whole, “It brings closure to the families of victims’ argument to be dubious, at best.

Well, shit. Any other aspiring samurais, if you’re out there, the only thing you should be cutting is your losses. The master’s at work, and here to stay.

The egotism seems expected—given Ford’s current trajectory in the series.

I haven’t read Mindhunter, so I can’t comment on how much the book follows Douglas’s perspective, but I’m sure he wouldn’t mind if someone else just as involved with the process was featured as prominently.

I’m loving the focus on Trench this season, and Holt McCallany has been making the most of it. Seriously. You’re gonna need Ford on the case, because McCallany is KILLING IT this season!

Fairly fitting that the movie about a guy constantly misunderstanding what his relationship with one woman meant has had such a divisive response to whether it’s meant to criticize or aggrandize its main character.

I read her reaction to the outburst as trying to deal with someone close to her being scary. When someone is backing you into a corner, sometimes your reaction is to stay still. And that’s not a perfect response to someone bullying you, but sometimes that’s where you land.

It’s probably their most accessible. Also, it rules real hard.

I’ve revisited Separation Sunday recently, and I like the rawness of it a lot. It’s one that has grown on me over time. But the songwriting on B&GiA is what does it for me. Plus, it feels a little more dynamic, which I appreciate. Other than “Same Kooks,” I’m in love with every track, and each for different reasons.

When I think of Boys & Girls in America, I think of the ruthless keys on “Stuck Between Stations” and “You Can Make Him Like You,” which are my two favorite tracks on the album. As tightly written and performed the whole thing is, every track is better for Nicolay.

I have a hard time with The Hold Steady. Because I like most of their albums, but I love, love, love Boys & Girls in America, which towers so thoroughly above everything else of theirs that it’s hard to get into anything else. Seriously. It’s a top-ten album for me. But I’ve been really digging Finn’s solo…

Or someone could liberate Hannah for her, which would be way more interesting: June can’t do everything herself. Other people need to carry on what she’s done.

Yyyyyup.

Except that June has had several big achievements. Nor is she the only character in this show I feel about this. And why would she need to read about it? She’s already leading the movement. Also, if we’re to believe Aunt Lydia, she’s not gonna be in Joseph’s basement long.