Glen Weldon

This week, with Linda off galavanting around New York, Stephen and I are joined by the great and good Margaret Willison and Chris Klimek to discuss a certain quiet, subdued and exceedingly well-mannered topic that somehow we hadn't yet gotten around to: The Paddington films.

Call them the Mighty Marvel Movie MacGuffins. They're the glittery objects that drove the plots of several individual Marvel movies and that collectively shaped the direction the entire Marvel Cinematic Universe has been heading (almost) since its inception.

They are the Infinity Stones — immensely powerful gems that contain and channel elemental forces of the universe. They're what the villains crave and what the heroes protect. They can be used to destroy or create.

Mmmmmostly that first thing.

It's easiest to say what The Awl and The Hairpin were by describing what they weren't.

They weren't places you went for lazy listicles and clickbait quizzes — Which Character From 'The Greatest Showman' Are You?

You didn't go there to get yet another hot take on whatever it was that everyone on social media was buzzing about that day.

They didn't do takes — hot or cold. They weren't reactive.

If they are to successfully make the jump to light speed, Star Wars movies require a precisely calibrated fuel mixture: one-third epic space battles, one-third narrow escapes and duly buckled swashes, one-third hooded beardy dudes standing around looking pained while solemnly intoning the cheesiest hokum about Darkness and Light as if it's Hamlet's Yorick speech (which in a way, it is).

This article discusses several plot elements of the original Twin Peaks television series, the 2016 book The Secret History of Twin Peaks, as well as this summer's Showtime mini-series, Twin Peaks: The Return.

Twin Peaks — the show and the cultural phenomenon around it — began life as the co-creation of two starkly different men: filmmaker David Lynch and writer Mark Frost.

Let's begin with a sweeping, simplistic and grossly unfair generalization: David Lynch is an artist. Mark Frost is a storyteller.

The television police procedural is a genre, and like any genre, it makes an implicit contract with its audience.

Chiefly, that contract is about plot. Here's what you'll get, it says. Each episode, a crime will be committed, investigated with a certain amount of technical detail, and ultimately solved. That's it. We may introduce some embellishments — a chewy performance here, an out-of-left-field twist there, or maybe a tiny amount of character development — but week in and week out, we'll stick to the parameters.

There is a moment about fifteen minutes into the premiere of the eight-episode Netflix series American Vandal when I knew it had its hooks in me.

It's a scene in which two student documentary filmmakers — Peter (Tyler Alvarez) and Sam (Griffin Gluck) — are examining evidence.

"Regaining sanity in a mental hospital is like treating a migraine at a rave."

It's a good line, and one that has the added benefit of being true. Zack McDermott should know; he's been through a few stints at mental institutions as a consequence of his bipolar disorder, which he chronicles, with an affable and often rueful wit, in Gorilla and the Bird: A Memoir of Madness and a Mother's Love.

Writer Jaime Lowe also lives with bipolar disorder; she shares her story — and a great deal more — in Mental: Lithium, Love and Losing My Mind.

After Friday night's two-hour premiere of Marvel's Inhumans on ABC, you can forgive us Marvel nerds for feeling a bit flinchy. That show's a great big slab of cheese — some of the runniest and stinkiest around — so if some of us approach the premiere of FOX's mutant-themed series The Gifted by adopting a kind of collective defensive crouch, understand that it's warranted.

Nerds of the world, I'm here to tell you: You can unclench.

In 2014, the directing/screenwriting team of Phil Lord and Christopher Miller surprised a cynical, jaded nation that was expecting, from The LEGO Movie, a cynical, jaded toy commercial.

It was that, to be clear. But it was also frenetic, funny, colorful, clever and desperately eager-to-please: a hugely imaginative joyride through a riotous landscape of Warner Bros.-owned intellectual property. Movie as theme park.

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