The objections to Gillis in this article, and in the AV Club’s recent spate of coverage of him, is definitely that he has told a number of jokes the authors find offensive, not that he’s unfunny. I’m not entirely sure from reading these articles that any AV Club author has actually seen Gillis perform in any sustained…

Start now, but briefly, then stop.

The allegations aside, can we agree that Combs’ decision to dress himself as a red Mylar balloon is a nice Valentine’s Day idea?

I think the solution with the settlers is that their land becomes part of a Palestinian state. They can choose to live in Palestine or they can choose to move back to Israel. But if they stay in Palestine, they’ll be governed by a Palestinian state, without governmental support from Israel. That’s a call they are free…

Yeah, I do think some of the problem here is that it robs us of the actual ability to experience creative products on their own merits. Everything becomes a kind of exhausting process of identifying who we’re supposed to like and who we’re supposed to dislike, then rooting for the product or hating it without regard…

Hasn’t it also generally been the case on Sex and the City that the main characters have romantic partners for a while, the relationships end, and then the partners don’t continue on as regular characters on the show?

This is a characteristically smug, sarcastic, and wrong Barsanti sentence: “‘Variety’s sources saying that the character had “reached a natural conclusion’—as if nobody on TV has ever come up with an excuse to justify keeping someone’s ex around.’”

This site went through an interesting period where the comment section was reliably filled with really passionate statements about the attractiveness of Alison Brie and Lizzy Caplan.

I agree, but the people hating Gillis seem to be doing so at least as much to affirm their identify as the people who like him.

In a way that’s become characteristic of this site, it’s also strangely uninterested in the actual artistic product, and far too interested in the people behind it.  Like, we can wait until Gillis’s special comes out, then talk about whether it’s good.  Same with whatever the next thing Lopez does is.

At least sometimes the author get oddly invested in wanting someone to succeed. Like, the obsessive coverage of Hannah Gadsby a while back was excessive, but it was at least positive.

Is it possible the box office secret Hollywood has been missing is that it needs to become somehow more superficial? The success of Anyone But You suggests the answer is yes.

I think it must be weird to meet with an agent and have him be like, “You look like a handsome asshole, so we’re going to put you up for a lot of handsome asshole roles.” Then you go to an audition for The Dark Knight Rises, and get cast because you have a look that immediately screams Upper Crust Douchebag I Want…

Barack Jobama

This article is moronic.

The author writes: “Of course, that had an adverse effect on winners and presenters discussing bravery and uplifting voices through their work as they did their best to ignore what was going on outside.”

If you’re trying to prove youareinfire’s point, you’re doing a great job.

Yeah, we don’t actually know how Yang and Sherman feel about Gillis. The AV Club seems to assume that his presence would obviously be deeply offensive to them. But I think comedians tend to pretty forgiving to fellow comedians who tell jokes that don’t land right.  And I don’t think it’s impossible to draw a…

Lots of people are living in that middle ground.  Just not online.

I don’t think the people making webisodes were particularly worried about whether audiences more than a decade after the shows aired would watch them. The goal is to give viewers additional content to keep attention on the show, usually during a time between seasons when new episodes weren’t airing.