Darth Plagueis

Horror comedy feels like a proper synthesis of disparate genres - both revel in the grotesque for different reasons, together they coagulate

I saw What We Do in the Shadows in theaters, and its premise really paid off - I'm more familiar with Vampire lore now so it should improve

Mockumentary films seem to frequently take a colder edge - even when Chronicle made superhero films part of it, it was pretty dark.

I agree with our readings that comedy trailers follow formulas and rely greatly on music. Only horror and maybe action might be more generic

I'm not looking forward to rewatching the To-Do List. I saw it once and thought it was juvenile and inane, but maybe I'll see more this time

I can't believe how critics at the time never commented on the film's investigation of homosexuality, as it's pertinent to the whole film

Chuck and Buck proved how good Mike White is at writing his own roles. This and School of Rock both give him chances for perfect awkwardness

Sconce's countercultural distinction is will be the code of the millenial hipster for decades to come. Patrician's stand above the plebians.

Sconce talks about the ways irony's perception has changed through our time. it didn't die w/ 9/11. in the age of the meme it's still strong

Bromance however is a topic unexplored, though I think the Jump Street films have done it well, on top of perfecting mainstream meta humor

Rashida Jones was really typecast hurting her ability to be funny,and Paul Rudd's depiction of the beta everyman goes too far in some places

On rewatch, I Love You, Man really shined. Its humor is subtler than its brand would suggest and there is a lot of sociopolitical subtext

Feeling like the Apatow brand, John Hamburg's film, like his Focker films, deals with interesting concepts to varying degrees of success

Having already seen I Love You, Man once, I'm curious how its enduring following and praise still looks after nearly a decade.

Concepts of male friendships no doubt simultaneously brings up questions of sexuality, just as with female friendships in the right context.

In discussing TV shows, Dan Harmon's works, Louis CK's Louie hold up as probably my favorite sitcoms of recent years

Rewatching Who Framed Roger Rabbit brought me back - its themes, comedy and overall premise still hold up as clever and relevant today.

The case of Community, also my blog topic, is a unique one. The show's existence carried on online almost solely due to cult followings.

Comedy Central's balance in content has only improved over the years, Tosh as a pillar of white male heteronormity with Schumer and K&P ots

Marx' article on Comedy Central reflects the sociological shifts that happen within a business almost unconsciously.