You just described the Eloi in "The Time Machine."

I can't even imagine the inner life Michelle Williams is able to tap for some of her performances. Her scenes in "Manchester" were almost as unbearable as Meryl Streep making "Sophie's Choice."

Yeah, I liked "American Beauty" on it's own terms, but I totally get why for a lot of people, it's the embodiment of everything reeking of white male heterosexual privilege. Comparing Lester's midlife crisis to the journey Little undergoes on his way to being Chiron is just a complete non-starter.

Rick Mitz, in his seminal tome "The Great TV Sitcom Book" (only through 1980, alas), had some really great stuff comparing "Amos and Andy" (which he notes: "the show—and not just for the wrong reasons—was funny"), vs. "The Jeffersons." With "Amos and Andy," it was white laughs we heard on the soundtrack; the black…

And I do want to watch the Case/Lang/Veirs thing—sounds very cool. (I recently re-listened to Lang's "All You Can Eat"; I'm hard pressed to think of another album with a woman so completely, totally unmoored by love/lust. The music practically drips into your ear.)

Have to admit, the last two are dead-on.

Not that Beyonce and Solange aren't great, but I get a definite whiff here of "white boy who fetishizes black artists because that's the only REAL music" here. (A major book is out right now with this same noxious premise, can't remember the title; basically, only African-American music is "real" music sung with…

(sheepishly) I…love all those guys.

"Double Impact." "Mad Love." "Nine Months" "Mulholland Drive." "The 'Burbs." "Rambo." There are tons more, but then there's my all time #1 most-hated, self-important, nihilistic piece of drivel: "The Reflecting Skin."

"Bunny! Ball-ball!" Still funny.

I remember that profile. After reading it, I had the weirdest impulse to fold a handsome multi-millionaire with tons of acclaim and credits into my arms, stroke his hair, and gently murmur, "It's okay, Daddy" while he cried. He seems to have a lot of….issues.

Rickles and Streisand apparently had some sort of friendship. When she wore her infamous see-through pajama outfit to accept her first Oscar—the Janet Jackson "wardrobe malfunction" of the late 60's—famed costume designer Edith Head called it "shocking" but Rickles leaped to Streisand's defense, calling it…

And not for nothing, as someone who's seen a LOT of LGBT-themed movies: Crudup and Ben Chaplin are one of the most sizzling male couples I've ever seen—their chemistry together is palpable, up there with Ledger and Gyllenhall in "Brokeback Mountain" or maybe Franco and Penn in "Milk."

Regardless of gender, I just hate people starting sentences with "Don't you think…" when talking to me. It's a way of subtly manipulating the listener into agreeing with you pre-emptively, and once I became aware of it now I can't stop noticing it.

I think Fitzgerald covered everything in "The Great Gatsby" a lot more succinctly and devastatingly in his short story "Winter Dreams." There, I said it; burn me as a heretic.

NO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (I still think the two halves of "Life is Beautiful" don't come together, and Begnini oversells the clown routine. And the Internet wants me burned at the stake for this opinion.)

"Woman in Gold" kind of covers some of that territory.

The exception: "The Butcher's Wife" kept going back to exactly that phrase, and using it as a comic punchline as Jeff Daniels became more and more unglued. That's a flop movie on some levels, but there are still a lot of really wonderful things sprinkled throughout it.

You are a rascal, you. :)

My only quibble with this episode—even the parts that totally rewrite the "Psycho" canon—was the use of Roy Orbison's "Crying." He has the right ghostly tone, but it's as if the writers only zeroed in on the song's first couple lines. I've been wrestling with what would've been better though: "It's the End of the…