The Netflix gay and lesbian section is the best argument for "representation is important, but so is, you know, actually making good movies."

I'm still waiting for someone to crowdfund that tweet about a gay dramedy with Jason Momoa as a greasy auto mechanic and Oscar Isaac as a stuffy English professor.

Taylor. We have enough going on. We cannot deal with another album release/thinkpiece cycle right now. Give us a few more months. Please. We're so tired.

You know James Gunn wrote both Dawn and Slither, right?

KEEP ICING YOUR FRONT BUM! SWELLING CONTINUES IF YOU DON'T ICE!

Anecdotally, I think Get Over It is a cult movie whose cult is 95 percent former high school theater kids. Like Hamlet 2, which I also love, it nails a lot of the dynamics of high school theater culture, from the achingly pretentious/deluded failed actor teacher, to the stoned techies, to the STARS who hated when…

I'd say Get Over It is good. Not a masterpiece, but a lot of fun, and smarter than most teen movies are allowed to be.

Bill said that he took time off to watch all six Police Academy movies with Chelsea.

I love all of Richard Kelly's movies - there's just something about his approach and worldview that I instinctively vibe with, and that powers me through the messy plots and WTFness. Same with the Wachowskis.

As a now-superfan of the show who had to be coaxed into watching it, the title was definitely part of it, but also:

Come on Aubrey, the name Wheelchair Jimmy's was RIGHT THERE.

DWP is great and he's a cool guy on Twitter, but dude. This is a 20-minute horror anthology entry at best. Find 2-3 other ideas and do Black Creepshow. Don't go full Kevin Smith.

It's already happening - we get three articles a week about rural Trump voters, which makes it easy for us latte-sipping liberal elitists living in the (steadily gentrifying) cities to think we're above it all.

UNFORGETTABLE - better than you would expect, but at this point, you gotta hit the absolutely batshit crazy/trashy heights if you're going to make a movie like this, and it doesn't. Still, Katherine Heigl kills it.

Floor seats at her last show were a maximum of 100 feet from the catwalk she walked down, and were $125-200 face value. Most modern pop stars keep the floor seats below $150 (GA for Gaga is $85 before fees).

My former landlord sued a deadbeat tenant for back rent under a similar principle - she said, "I don't expect to see a dime of what (deadbeat) owes me, but you better believe I want this on official record when (deadbeat) goes to rent her next place."

See, I think the Gaga record had authenticity - she would have been smarter to come back with The Fame 3 than a country-infused record after Artpop underperformed, and Joanne/Angel Down felt deeply personal. My bigger issue was that I didn't like most of the songs that much, and I haven't really listened to it since…

I remember part of the ongoing legal battle was concern that her absence was putting her past the point where she could release music and people would care about it. She sold out her show here in KC in less than a day. So much for that.

I appreciate that this is one of the few movies that doesn't use Under Pressure to indicate that, yes, the characters are indeed under pressure.

I wouldn't say he's good, but like Nickelback, The Chainsmokers, and Transformers movies, he's pretty much a non-entity in my life, only coming up in articles like this, or in a passing commercial while I'm watching Chopped.