Either ending suffers from the fact that Woody’s story was really over at the end of Toy Story 3. He accepted loss, not just Andy but Bo Peep having been lost before, and embraced an uncertain future alongside Buzz. It was nicely bittersweet. But Toy Story 4 had to undo his acceptance to have anything happen.

Why on earth remake a show centered on the very specific sensibility of a specific comedian? It’s not like you couldn’t just do your own “quirky woman has overbearing mother and unresolved sexual tension with guy friend" sitcom.

The little arm swing the kid makes during "slings and arrows" is freaking adorable.

It was sort of promising, though it's hard to tell with AHS first episodes. I love 80s slashers but I have a feeling this will be jumping genres at some point. "Cruel Summer" is a perfect pop song. 

I totally forgot the Flatliners remake and I saw that movie. 

My only real die hard preference is for Williams in Fosse/Verdon, which also really shouldn't win the limited series award. There's literally no wrong call in the Best Comedy Actress category, other than there not being enough slots to also work in Justina Machado or Kristen Bell.

I would be shocked if Dinklage lost and I think there's a lot of sentiment that Clarke did her best with questionable writing, though that's a far tougher category.

Ms. Benatar appreciates your concern but would appreciate it if you backed off on the hourly calls to check on whether she’s still alive.  

30 Rock. Rewatched it almost obsessively but once I learned the rhythm of every single joke and gag watching it again felt really hollow. I can rewatch Parks and Rec and Community and Cheers over and over because I still find the character dynamics fun even if I’ve memorized every punchline but that didn’t work with…

It’s far from the biggest problem here but I’m stuck on the part where he says that “most” of his 10 years in comedy was “bad.” I’m not sure whether he means that he was mostly professionally unsuccessful for those 10 years or that most of his material was terrible, though the second reading makes more sense with the…

Whatever else goes wrong, AHS always has great credit sequences. Though this isn't exactly its most promising cast, with a few exceptions like Grossman. 

I think Nemec almost overcomes being ludicrously miscast. 

The continual repetition of "God is cruel" in Desperation pretty much sums up King's theology. 

I do like that they balanced Robert’s genuine empathy with some serious blind spots and an uncanny ability to always make the wrong financial decision. He’s a decent guy who is also severely flawed.  

Every soapy supernatural show owes something to Dark Shadows anyway so why not? God knows The Vampire Diaries was essentially Sexy, Southern Dark Shadows. Although the idea of “mythology” is pretty hilarious. The Dark Shadows writers freely admit they borrowed from whatever Gothic story they could find just to keep…

I get why Elgort, Mopey Blankness specialist, seemed like a decent fit for the character. But with most of the secondary stuff taken out of the adaptation the character was going to be even more frustratingly opaque than he was in the book. 

I agree that the movie does genuinely care about its characters but they are split up for so much of the runtime that it's hard for them to build any kind of group dynamic. 

That’s certainly an interesting double feature. 

It: Chapter 2. Hader is terrific, the other adult actors mostly do very well, and the child actors from the first movie continue to be very winning. But my god is it badly paced. The problem isn’t how long it is. It’s how weirdly it flows. The character re-introductions are done at breakneck speed but several of the…

I'm a little surprised Iannucci wasn't drawn to one of the more overtly political Dickens novels. I bet he could work wonders with Little Dorrit.