
Neurodivergent Film & TV Journalist. Q&A moderator. Founder @TheAstraAwards, @WeLiveEntmt & @Awards_Buzz. Member @TelevisionAcad, @CriticsChoice & @BAFTA.
Los Angeles, CA
Joined January 2012
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I’m genuinely shocked by all the positive reactions to The Cat in the Hat.
What’s sad is that I can’t tell how many of these reactions are genuine and how many have been influenced by it being a premiere or securing junket interviews.
Access is a real currency in this industry nowadays, and it’s made me ultimately question a lot of these reactions that up until the pandemic I would have taken at face value.
I hate that my first instinct has become skepticism but alas that’s what this has become.
I need certain people to stop overhyping every single film they watch. How is anyone supposed to trust your opinion when every tweet makes it sound like you just saw the next Godfather? I love when people get excited about movies, but when everything is remarkable, masterful or a tour de force, the praise quickly loses its meaning. This constant hyperbole is doing more harm than good.
The problem goes well beyond incentives. It’s the astronomical cost of living, the constant fear of wildfires and mudslides, a poorly run government, safety concerns, the homeless crisis, and those are just the issues that come to mind off the top of my head.
California Tried to Jumpstart the Film Economy. Production Keeps Falling. variety.com/2026/film/news/c…
The movie didn’t even perform well in Burbank. They knew it wasn’t going to do well after lukewarm responses at festivals. I don’t blame a24 here. They have way too many other films to be focusing on right now and they gave it a shot but alas sometimes it doesn’t always work out as planned.
You Can See Everything — Except Chris Rock’s “Misty Green,” Rescued by Netflix After A24 Dumped It for Other Projects showbiz411.com/2026/10/21/yo… via @Showbiz411
If I were Netflix, I would hire whoever is greenlighting and acquiring films at A24. Talk about a studio that knows how to keep budgets under control, generate buzz, and get multiple films into the awards conversation every single year.
I have a lot of good friends at the Globes but Obsession and Michael categories should be swapped.
The Golden Globes awards committee has denied the submission of ‘MICHAEL’ in the Musical/Comedy categories.
The film will instead compete in the Drama categories.
(Source: goldderby.com/film/2026/mich…)
Wildwood is a true masterwork of animation. This was a 16-year dream project for the LAIKA team and it’s one of those rare films that exceeded my already high expectations. This is a work of art with a story that is dark, beautiful, and emotionally rich. The depth of its themes and the nuance in its storytelling are simply sublime. I can’t see another film beating this for Best Animated Feature, and it deserves serious consideration in other categories as well. This is the kind of filmmaking and storytelling that reminded me of why I fell in love with going to the movies. This is probably my favorite stop motion feature film since The Nightmare Before Christmas and that’s saying a lot considering I absolutely adore stop motion animation with every fiber of my being. #Wildwood
I don’t know why anyone is surprised by this in 2026. Awards shows cost money, and they are incredibly expensive to put on and produce. People need to stop treating a studio or network purchasing a table as “buying an award.” They’re paying for seats for their talent and helping cover the food, venue, staffing, and production costs that make the show possible. Purchasing a table doesn’t mean purchasing a win.
Street Fighter was so bad. I typically enjoy silly movies like this but this one is so damn messy and poorly written that I didn’t even find it be dumb fun.
Everyone who gets to see this for the first time is incredibly lucky. One of the best documentaries of all time.
The movie was already tracking pretty poorly, and negative reviews from critics won’t help the box office. It’s strange how my perspective on this has changed so dramatically over the past few years, but when you have so many films flopping, even ones with good to mixed reviews, I have started to actually agree with studios on this. There are too many recent examples where the negative critical buzz has hurt a film so why would a studio spend the money on screening it especially in a time where 80% of releases aren’t meeting their budgets.





















