Somersault is a fantastic film. (As is Lore.)

Absolutely superb review (of an absolutely astonishing episode).

It’s a fantastic song—not sure it needed Mr Mendes’ input, though. This and Sudan Archives’ “Glorious” are my favourite tunes right now.

You’re not wrong. Everyone I’ve ever met who assured me that, “I’m really a people person,” was an absolute sociopath.

Well, I’ve seen The Irishman and she’s fucking great in it: the moral centre of the film, in fact. (And it’s an incredible film, Scorsese’s best in more than two decades.) And while I don’t like The Piano much, I have to acknowledge that Paquin’s pretty terrific in that, too.

I guess I’m not the only one to find Linda Perry terrifying.

Sensing English maybe isn’t your first language, Fred.

Because I have a quaintly old-fashioned notion that critics – and he is a critic – should know what the fuck they’re talking about.

My mum hasn’t read ‘Watchmen’ either, and I’m pretty sure she’ll check it out – should she write something, too? I wouldn’t have written about The Leftovers if I hadn’t bothered to read Perrotta’s novel first, because I’d reasonably assume no one would give a shit about my uninformed, ‘man of the street’ impressions.…

So, what – Randall Colburn couldn’t even be arsed to even read the comic before he weighed in? You know, like perform basic-level due diligence as a critic? That’s some Shea Serrano shit, right there.

I’ve never heard it used in that context. Yet I’m also not surprised that, once again, America chooses not to acknowledge the actual meaning of words, and just makes some shit up it likes better.

‘To his credit, veteran host Pat Sajak is nonplussed by Davis’ unusual remarks . . .’

See, that’s more the usual standard.

I gave that comment a Like. Not because I agree with you, but for being probably the only Trump supporter out there who knows how to use a semi-colon.

‘The biggest asshole in rock music’ is quite a claim, but through a combination of practice, perseverance and a not-inconsiderable natural talent, Baker managed to justify it. Even as we speak he’s probably telling Satan he’s a know-nothing cunt.

People don’t use ‘clod’ enough. It’s such a great term: ‘You clod!”

It didn’t feel like a definitive ending to me; it felt like the end of a middle chapter. In this light, her decision to leave it for a number of years makes perfect sense.

Exactly. As I wrote in my review out of Venice, ‘one of the remarkable things about Joker is its slipperiness. It refuses to tell you where to stand or how to feel, and it doesn’t take a single position itself. On the contrary, it keeps shifting and realigning – much like its protagonist, who goes from loser to…

Those poor fucking actors.

That’s a really good point of reference. Thank you.