Not to pile on more Plaza adoration, but one thing I've noticed is how expertly Noah Hawley uses the charisma of comedic actors. The first two episodes really trade on Plaza's smarm, where she's sort of an old-school enabler with enough emotional intelligence to stay in David's good graces. As she's revealed to be the…

Grimace, meanwhile, is still terribly entrenched in denial over his similarity to the eggplant.

Hey. Sasha hasn't been an outright dumb bitch since, I dunno, early season 6 maybe. Since then, she's been a tolerable character played by a good actress with the occasional great reaction shot.

-I don't mind Michonne losing some independence, if that's what you want to call it, considering she spent season 3 struggling to allow herself to forge connections to other people again. If it's not a character arc, necessarily, it's at least in-character.

It's logical to assume Eugene was going to play ball, so most of this episode's tension came from trying to figure out if Eugene was giving a performance. But this show is crazy guilty of playing characters straight, then 'revealing' their deception several episodes later, when none of their behavior from previous…

I disagree with that assessment of The Cable Guy. Broderick's crumbling mask of geniality buoys the tone for most of the movie, which is otherwise intense stretches of Jim Carrey played dark. I think Broderick's tone of voice gives him an inherent nebbishness that bothers people, but it works there.

I think the decision to put them 'somewhere' between Atlanta and D.C. works to keep the topography vague. Out there, if you venture west off of I-95, you can find long stretches of road with barely any stripmalls or proper suburbs.

-Okay, so Jadis' crew is…a cult? Cult-like, at least? Their affectless buzzing around the group had a sort of religious discipline to it. Their hierarchy certainly didn't seem based on power, most of the leaders looked and moved like stodgy old clergymen.

I liked the sense of familiarity between Cusack and Driver in Grosse Point Blank. It felt more realistic to have the pair engaged with each other's weird little eccentricities. A lot of Driver's dialogue is essentially mocking Cusack for projecting the 'mysterious/worldly' vibe when they had each other's personality…

Rory Scovel! Cedric Yarbrough! Ellie Kemper! Nick Kroll!

Is there an actual conflict in this movie? The only plot point seems to be making Jennifer Hudson famous. And considering her looks and vocal talent, uhh, I think I could do that.

Ming's humor is really dependent on his bizarre tone of voice, which is why he seems funniest in larger groups like the Christmas episodes. I laughed hardest when he capped the group's casual breakdown of No Scrubs by saying, "Yeah I don't…I don't want to be a busss-ter."

I agree with this post's self-loathing critical assessment. Demon Days really feels like THE post-911 soundtrack, and that sounds pissy to say, particularly when you have highly representative albums from Green Day and Wilco and even David Cross from that era, but it's just so on-the-money.

Some of my favorite aspects of Overwatch:

You were always weird but I never had to hold you by the
edges like I do now

-I get making the first few episodes single setting pieces, so the audience can feel the momentum increase as later episodes cut between several storylines at once. But man, did it not work.

The only thing worse than antisemitism is hack, unoriginal antisemitism. Jewish businessmen stereotypes and music executives stereotypes are so similar, what's the point of mashing the two at all?

Yeah, but remember young Jimmy Fallon? When he used to hang out with smokeshows like Horatio Sanz? squeee

You'll have to keep the sound on, I'm afraid.

I can't wait for Elizabeth Moss' flawed stoicism to be contrasted by Nicole Kidman's fatalistic regionalism and Gwendoline Christie's stubborn but self-aware brooding.