Yeah, the "look at all the religions!" scene was painful. What I find annoying about Babylon 5 is that it clearly wanted to go into edgier, more politically and socially charged territory than Trek had gone during the era of TNG—dealing with ideas like religion and capitalism and the potentially positive effects of…

Yeah, the "look at all the religions!" scene was painful. What I find annoying about Babylon 5 is that it clearly wanted to go into edgier, more politically and socially charged territory than Trek had gone during the era of TNG—dealing with ideas like religion and capitalism and the potentially positive effects of…

Jack Black's "DON'T JUDGE MEEEEEEEEE" scene is a major point in his favour. I'm not going to say it redeems some of the shit he's done in the last few years, but it's in the credit column.

Jack Black's "DON'T JUDGE MEEEEEEEEE" scene is a major point in his favour. I'm not going to say it redeems some of the shit he's done in the last few years, but it's in the credit column.

I just watched the Ben Stiller show for the first time since it aired (I think I caught a sketch or two back in the day) and I was pretty disappointed. There are one or two brilliant moments but even Bob Oedenkirk isn't that funny on it. And dear God, the makeup on Stiller when he's trying to do celebrity impressions…

I just watched the Ben Stiller show for the first time since it aired (I think I caught a sketch or two back in the day) and I was pretty disappointed. There are one or two brilliant moments but even Bob Oedenkirk isn't that funny on it. And dear God, the makeup on Stiller when he's trying to do celebrity impressions…

Never fit on a marquee, luv. From now on you are Apu De Beaumarchais!

Never fit on a marquee, luv. From now on you are Apu De Beaumarchais!

But if you ask me, if you're stupid enough to eat it, you deserve to die. 

But if you ask me, if you're stupid enough to eat it, you deserve to die. 

Was this statement meant to imply that Clooney mangled Kaufman's script, or simply that he realized it poorly? I thought it was a perfectly good movie—maybe one of his weaker ones, but still clearly a Kaufman movie, and still worthwhile. Was something left out?

I agree that we should be more willing to accept characters with flaws in movies, but I have to say, Kaufman DOES tip over a little bit into making his characters relentlessly horrible people, which isn't "real life" any more than a Disney movie is. This is why Spike Jonze deserves a lot of credit—he's got heart, and…

And yeah, Zack's right. Knowing that in a few years the little girl is going to be invaded by a horde of old people and Charlie Sheen muddies the water of what happened to Craig a bit too much. It might have been better if they'd said "if you go in after midnight on Malkovich's birthday it shunts you to a random body…

ElDan , Yes, but Jonze made the deliberate decision NOT to film that ending, which was, I think, the correct one. Kaufman's original ending has his usual "existential horror" thing going on, but it's too far over the top for what is otherwise a very heartfelt love story. Plus it's frankly implausible—we're supposed to…

Her cumulative onscreen persona has definitely shifted from "awful" to "warm and loveable" over the course of a decade, and oddly, I think Death To Smoochy began the transition. She started off as her usual brittle, cold-hearted exec character and slowly turned into a human being. Friends With Money was part of the…

Getting people to read The Ultimates is a terrific way to make sure they never want to read superhero comics ever again.

I'm surprised this article doesn't mention shows that come with something of a built-in ending in mind, like Breaking Bad or Game of Thrones. To me, that's the most satisfying kind of television, but you have to strike a balance between decent ratings and understanding network execs. I want Community to get another…

Totally agreed. We don't actually need more AD. It's able to stand as a perfect jewel with a nicely tied-up finale. If the new episodes and movie are awesome, then great, but I almost feel like they shouldn't risk their perfect track record.

I personally love Wizard and Glass because it keeps most of King's strengths (elegant writing, good atmosphere, propulsive plot, solid characterization) while marrying it to what struck me as a tighter narrative (it doesn't end with the characters all developing telepathy in the third act for no reason) and one of the…

I love that the first few books came out far enough apart that they each seem to be attempting a different style—the first book is a late response to 60s-era New Wave SF, as you say; the second book is like an 80s airport crime novel (or a couple of them) with King's metaphysical stuff dropped into it; The Waste Lands…