When I tried to push back, they pulled me back in!

Because the fact is that, even if Frasier himself is rarely its best part (something that doesn’t bode all that well for a reboot where he’s the only returning main character, by the by), Frasier remains a shockingly good example of the sitcom form.

Friendly reminder that James Burrows is now 82, so a certain amount of “old man huffing and puffing at cloud” energy shouldn’t be too unexpected.

It’s not in this article but in the original Deadline piece the lawyer says that Wineman is making “what are 100 percent probably false statements”.

FWIW It’s “probably” in the original article.

I’m not wholly kidding here either; when’s the last time anyone was really talking about Justin Timberlake? Trolls? I dunno if I’d go so far as to say that his career has ‘cratered’, but there’s definitely been a bit of a slow down and a fade out. 

Shit, we’re supposed to be writing all this down?

I suspect it’s at least partly a matter of trying to figure out a way to incorporate the existence of people with superpowers whom everyone hates and fears because they have superpowers into a universe which has had people with superpowers kicking around for almost two decades with no one really batting an eyelid.

Ahh, I get what you’re saying now. Thanks for the clarification. I still think there’s a grey area, as the expectation of truthfulness can arguably extend from just specific routines to their whole comic persona / presentation (and in Minhaj’s case it does seem, as I understand it, that he actually was making up some…

Not wishing to be rude or confrontational, but I’m not sure how this contradicts anything I’ve said. My point is that when comedians start outright claiming that their acts and material are based in truth and are using that as the fundamental basis for some kind of political / moral / social point of importance or an…

In general terms perhaps, but I think the situation does become greyer when it comes to the kind of Nanette-eseque “this is My Truth” autobiographical-confessional-didactical strain of stand-up comedy which has become a lot more common of late, where the whole point is that the comedian is supposed to be expounding…

Honestly, I don’t have an exhaustive list of science fiction cinema featuring spacecraft in front of me, but I’d say that ratio is fairly reasonable for both film and TV since at least 1977-1980. The ‘lived-in future’ look has arguably been the dominant style since Star Wars.

Speaking of Elvis Costello: I’ve recently been working my way through his catalogue for pretty much the first time in years (my older brother used to thrash his stuff constantly in his late teens but kind of fell away), and everything I heard about King of America was that it was one of his best, a glorious comeback…

Yeah, much as an asshole Chevy Chase can be, I get the feeling he wasn’t entirely wrong to feel like the writers were doing him a little dirty. 

“Is this supposed to be a credenza?! Does this even look like a credenza?!”

TBF the guy has founded or co-founded at least three foundations explicitly designed to preserve, restore and exhibit neglected or marginalised cinema. He’s doing a fair bit.

The greater relationships between intimacy coordinators... and slavery.

Again, you’re not wrong exactly, but (a) I’m not sure we can reasonably hold Michael Caine to account for the status of women in western society thirteen years before he was born and (b) comparing his comments about intimacy coordinators to support of slavery still seems at least a little hyperbolic (FWIW the marital…

Sure, but there is a little bit of a difference in equivalence between the necessity of intimacy coordinators on film sets and institutionalised slavery. 

The thing I’ve always found interesting about Stallone is that although when he tries to be funny he can’t really pull it off, when he’s in a self-deprecating mood he can actually pull off some pretty good zingers. An odd amount of which appear to have been provoked by Stop! Or My Mom Will Shoot: