Jeffrey York

I’d bet on a variety show starring Taylor Swift versus sinking $200 million into another superhero saga any day of the week.

Shame is, in many ways, like that gun being held on a crowd. Everyone can relate.

Shows trying to tickle our funny bones have become so prolific that we have started to collectively yawn—it takes a lot more to stand out.

Indeed, clothes not only make the man (or woman), but they can tell us so much about a character the second they appear on screen.

Look, you’re probably on your cellphone constantly anyway, so maybe it’s time to make more out of your time there.

Look, I understand that it’s called show business, not show art, but still, where is the show part in so many of these tin-eared studio exec’s equations?

Getting a fractured audience’s attention is getting harder and harder.

I’m all for pushing envelopes, but should cringe be a part of awards show comedy?

It is a shining example of how a film can be distinguished just as much by what its script doesn’t reveal as what it does.

... you need to make us want you again.

Foreign films generally assume the audience is savvier, capable of putting two and two together without having to shove things down their throat.

Such decisions may get called out, but they are still artistic decisions and that’s where much of the slippery slope of Cancel Culture starts to poison all the water.

But since 2012, there have been precious few political thrillers popping up on the big screen. Why? It’s not like there aren’t stories ripe for the picking ...

Does any story ever just conclude these days?

It’s not CGI. We buy it because seeing is believing.