Jojo Rabbit is a much worse film overall than Joker. There are many films I love that find humor from fascism without diminishing the threat of it. Jojo Rabbit is not one of them.

I kind of enjoyed Joker, but it’s the worst kind of movie. Which is to say, it’s a film that purports to be about serious things, but doesn’t have anything to say beyond how terrible the way it is, because it can’t commit to anything. The best you can say about it is that it’s an examination of how white male…

“Bart of Darkness”?

I’ve often been in awe of The Good Place. I’ve been here since day one, and I’ve enjoyed every minute, for the most part. But I’ve never really been in love with the show. Sure, I love “Michael’s Gambit” and “Dance Dance Resolution” and “Janet(s)“ as much as everyone else. Yet, something about the show just hasn’t…

Bon Iver’s showing is absolutely wild. I mean, I’m here for it, but damn.

Given that you gave every album of theirs this decade a glowing review, I’m surprised there isn’t a single entry from The National here. I can’t argue with many entries on here—though, let’s be real, the inclusion of DAMN. over Good Kid, M.A.A.D. City is laughable--but there’s a lot of good music, and you can’t always…

I mean, characters can still experience incremental change while maintaining the core of their personality. This is the entire draw of Community. Moreover, there’s no reason they couldn’t have a show if Rick changed. They would probably have a very different show than the one that now exists, but there’s no reason the…

As someone who does love both Paddington films, I find them to be deeply imaginative, hilarious, and emotionally resonant. Also, I’m about 95% sure that Ari Aster stole the opening shot of Hereditary from the first Paddington.

B+ is probably where I stand, as well. But the note this ends on reminds me a lot of the end of “Auto Erotic Assimilation,” which is my favorite episode of the show. It’s not nearly as devastating, but I love it all the same.

Bummed that Trial & Error couldn’t sneak on, and a little surprised that 30 Rock ranks as high as it does, considering the seasons that aired during this decade were its worst.

That’s actually why I think season three of Serial is its strongest. It doesn’t take exceptional stories like it does in seasons one and two, but instead, looks directly at systemic issues--at least in one justice system. And whether or not Koenig can make certain leaps, whether out of caution or obliviousness, I do…

I think Serial is more forgivable if, as the article says, you look at it through a prism of a broken justice system. Otherwise, Hae Min Lee’s brother is right. True crime often only takes the “true” part at its most shallow. It’s what makes it kind of a despicable phenomenon. Other people’s suffering and trauma…

Portal 2 and BioShock Infinite are both top ten games of all time for me, but my game of the decade is still To the Moon, which is short and unchallenging, but maybe the most emotionally devastating story across any medium that I experienced over the last ten years.

Ohhhh. Good call.

Um, Alison Brie? Was there anyone who appeared more consistently on so many of the most acclaimed series of t he decade?

On one hand, they did let foreign interests target voters to influence our elections.

I remember this airing and thinking, “Holy shit, how did someone show this on broadcast television?” Of course, I also thought the same thing during the “Women’s Appreciation” episode where Michael pretends to be a flasher, and then loses his “erection” when Toby walks in.

Honestly? I’m willing to forgive the emptiness of Pickles’s and Mr. Peanutbutter’s relationship woes in this episode for just how goddamn inventive and thrilling the rest of it is. I mean, generally speaking, I’m a sucker for experimental storytelling, and this pays off in nearly every possible way.

Okay, so I haven’t read this article, but earlier in the week, I posted how I had started the series and that I’d finish it by... now, roughly. And holy shit. What an ending. It makes me think of the end of Inception. The point of it, as with the entirety of The Leftovers in terms of storytelling goals, has less to do…

“I reserve the word ‘despicable’ for someone who committed mass murder...”