>everything and everyone ending up perfectly in place

This series got good once it realised Serkis is the star.

It’s just so weird. I understand that the ad is supposed to mean “look, we compressed all these things into an iPad” but that’s just not what it actually says at all. It solely reads as: “look, we’re violently destroying at least one thing you have a strong emotional connection to; now give us a thousand dollars.”…

Yeah, I don’t think he’ll win this lawsuit, for the reasons you state, but if you asked a 100 random people right now to name an abuser from Nickelodeon, his name would definitely be the only one that came up. And the documentary isn’t not responsible for that.

There is something about Mulaney that’s kind of designed to be intriguing, to be fair. He makes great and interesting entertainment about his personal life but you only kind of get glimpses from it of what the dude’s really like. And there’s this obvious gulf between that and his stage persona.

People rag on Seinfeld in the weirdest way. Stand up aside, his entire output is a really good documentary, a really good interview show, a cult classic animated film, and one of the best sitcoms of all time.

It’s a nonsense term used by people who don’t understand how show business works. You simply can’t make someone into a star in the way that term implies. Even if it were possible, it doesn’t make sense as a thing to do. Why would you want to artificially create a career for someone who’d shown no previous promise,…

I’d love nothing more than a Tarantino trek movie but that shit was never getting made. Studio were just humouring him, like with Aronofsky’s Batman movie. Even with directors of that calibre, it’s too much of a departure for tentpole cash cow franchises like that.

I loved the last season of Picard but I feel like it’s the kind of thing you can only get away with once. Those guys deserved a victory lap, and it was fan service done right, but I think they’re better to leave it there.

I feel like there’s always been a strata of comedians who naturally aged out of relevance, and subsisted on the fringes; providing outmoded “comfort takes” to their similarly aged audiences. What seems to have changed now is people are so wound up by this fake “you can’t say anything these days” spiel, these guys who…

Funny is subjective, so I’ll grant you that (even though I haven’t agreed with it re Gervais since season 2 of Extras). I even agree that comedy should absolutely be free to touch on taboo subjects and that it shouldn’t be afraid of offending people, as long as there’s a valid point to be made.

Isn’t the reason they care more about the weekend $20 that a strong opening (usually) makes it way more likely they’ll also get the Tuesday $20? What they really want is $40.

Nahhh. People who would ordinarily have seen neither, saw both because of the Barbenheimer thing. Barbie might’ve still been OK but Oppenheimer made more than Nolan’s last 2 movies combined, and with an (arguably) way less audience-friendly premise.

You say that as if it didn’t totally work, and result in $2.5bn.

I mean there’s producers, and there’s producers. Robbie IS that movie. Moreover, she’s any potential sequels as well. She obviously has clout here.

There’s been huge deficit between how bad everyone on the internet decided this would be months ago, and the ridiculous amount of talent involved especially behind the scenes. It’s baffling how little goodwill this thing has been allowed, given the people involved in making it.

Never a bad time to break this out:

Lovely article! And yep, I was trying to remember what it reminded me of, and I eventually realised it was how the AV Club used to be back in the day. I really miss that. 

I mean they they released by far their most successful album before he went to Harvard, so I’m not sure how much sense that makes?

>Carpenter is also composing new music for the show.