That's not a skew. It's a reflection of the people who took the time to vote. What's the alternative? Forcing people to check a box before voting if they are a "bro," and then discounting those votes.

And The Dark Knight is 10th. It's almost like a poll of internet users is likely to favor well-made, emotionally-resonant, almost universally-beloved movies that aren't a total slog to sit through.

There's also something distasteful about trying to psychoanalyze why people might like the Shawshank Redemption, particularly when the goal is obviously to make the men who like it seem like they are trying desperately to get laid, instead of, you know, voting for a movie they like online. You don't have to think…

THAT'S the list!

I would think the final shot, as Eric Bana walks through the park with the Twin Towers in the distant background, would be the obvious choice.

Butler didn't know whether he should play the scene as surprised or intense, so he split the difference and made one half of his face do each.

Just for tradition's sake, Suicide Squad needs a guy named Eckhart getting absolutely wrecked by Jared Leto.

Before taking these roles, Eckhart should think about the future.

If only the Academy would nominate something like, say, a movie about a bank robber married to a pre-operative transsexual woman, but primarily about the bank robbery, in which both the robber and his wife live at the end. And the bank robber could be played by like, a big name prestige actor just a year removed from…

It feels like the author decided on an argument, looked for evidence, realized the evidence contradicted his point, and then decided just to plow ahead anyway.

Thanks. Fixed it.

Right, but what that tells you is that the Academy likes middlebrow stuff that often doesn't hold up to the test of time. Sure, Lang can point at Carol and be frustrated that it didn't get a nod, but that probably has less to do with any kind of equality issue and more to do with the fact that the Academy regularly…

Exactly. If anything, the issue seems to be that the Academy is eager to recognize mediocre "issue" movies about gay characters that have an Oscar gloss, rather than smaller and subtler movies touching on the gay experience. That's no surprise though — an Academy that gave "Crash" best picture is always going to be…

No matter how much twisting the author does, and how many buzzwords he uses ("queer bodies"), he can't erase the fact that a diverse array of depictions of queer characters have been recognized by the Academy, from Milk (Sean Penn won) to Philadelphia (Tom Hanks won) to The Kids Are Alright (Annette Benning nominated)…

It's about time they gave T-Dog some lines!

The song at the end of the episode was "Down in the Willow Garden," the same song Holly Hunter uses as a lullaby in the Coen's Raising Arizona. Seems appropriate for an episode in which both Solverson and Ed Blomquist start to face the fact that they may not be able to have the families they really want.

The song at the end of the episode was "Down in the Willow Garden," the same song Holly Hunter uses as a lullaby in the Coen's Raising Arizona. Seems appropriate for an episode in which both Solverson and Ed Blomquist start to face the fact that they may not be able to have the families they really want.

Karl Weathers would never waste a perfectly good Rye Gerhardt corpse, especially when you've got a freezer big enough to keep him all winter.

It's interesting how both seasons of Fargo (and the movie to a large extent) undermine our usual expectations about protagonists. Think of how often we're rooting for ambitious, hard-driving, uncompromising, cynical characters in modern TV shows. That's especially true in shows centering on police officers.

Just like last season's philosophical, violent Lorne Malvo character paralleled Anton Chigurh, this season is pretty openly playing with other Coen Brothers movies besides the titular one. In particular, Karl Weathers, the buffoonish, conspiracy-obsessed, quick-tempered buddy of Solverson, seems like a play on Walter…