Oh that could very well be. I remember reading that Tambor says he’s had anger issues going back decades and that he’s continually been working on how he expresses anger, frustration, etc. I also remember reading that he was worried about being a cis man playing a trans woman on Transparent—worried that his…

Yeah there’s a Council of Kangs; their first appearance was in Avengers #267 back in 1986. I don’t think the Council of Reeds shows up until later.

Tambor was a major asshole to Jessica Walter, for sure—she said as much in that cast interview with NYT: “In like almost 60 years of working, I’ve never had anybody yell at me like that on a set”, but she later said that Tambor apologized and she forgave him for it: “I respect him as an actor. We’ve known each other…

Obligatory nod to Aimee Mann’s “It Takes All Kinds”:

If the three of them really want to push past this stupidity, they should at least coordinate the talking points. On Today Witherspoon said that she’s known Kunis a long time and so “it was fun to get to know” Kutcher since she’s known his wife for so long, whereas Kutcher says he’s been friends himself with…

We’re talking about “The Backrooms,” an expansion of the internet’s fascination with liminal spaces—which are weird (often edited) photos of unsettlingly empty places.

You know what, he’s right. Blonde was shit. Armas is obviously talented, but even she seemed reduced to histrionics because of the garbage material she was working with.

There’s also the alleged social media post someone made campaigning for Riseborough that said Davis and Deadwyler were locks (along with Cate Blanchett and Michelle Yeoh), so votes could be spared for Riseborough.

Yeah, the assumption that “a black woman was very likely displaced by Riseborough”—and not de Armas, Williams, or Blanchett (or Yeoh for that matter)—implies that it was a tossup between Riseborough’s and those un-nominated performances for the fifth spot, which seems like a bizarre conflation of two stories—one about…

Nolan also loves to orphan scenes that have no logical conclusion in sake of just moving the narrative forward, knowing that most people won’t notice the first go-around. TDK, as much as I love it, has one of the most egregious examples:

Exactly. I taught “Cat Person” in a contemporary lit course three consecutive semesters. Reading Nowicki’s piece about how people in her life immediately recognized that the story was based on her and Charles—and apparently unfairly demonized him—was heartbreaking.

It ends instead as a mostly cerebral exercise that leaves you wanting to read Kristen Roupenian’s original story.

Joy/Jobu might be my all-time favorite antagonist. 

Well, what do you expect when you have yellow eyes? So help me God, yellow eyes...

This might be an interesting read:

Re: Whether Robbie is a draw for audiences:

You’re “allowing one notable exception” to your already arbitrary one-actor-per-film rule. So why not making it two exceptions and give props to Stephanie Hsu for EEAaO? Her performance was a revelation; she made Joy arguably one of the best (and most surprising) antagonists in cinematic history. Or how about Ke Huy…

Love, Actually is fucking terrible. Even those involved with making it routinely apologize for it.

It’s like if the head of Disney literally collected the six Infinity Stones and used them to wipe out half of all Marvel movies as a tax write-off.