Napoleon was a flawed character – a political and military genius who tended to confuse his personal ambition with the overall interests of France.  His was a glorious rise to power and achievement followed by a downfall due to his inability to know his own limitations.  Scott’s Napoleon flattens this grand trajectory.  But if you don’t give us the highs, you miss the drama and the tragedy of the lows.  Napoleon should have been a more moving and thrilling movie than it was. 

Asteroid City breaks the third wall, the fourth wall – every wall that’s ever been thought up by human showfolk to enable comprehension and clarity.  It breaks down the barriers of performance and drowns the lot in an incoherent soup of stylish surrealism and quirkiness for its own sake. 

As with advertising, so with politics.  You sell your message better when you leave out the sermonising and make the people laugh.  Barbie should have stuck to making jokes. 

[Humphries was] a brilliant comic writer and social satirist, probably Australia’s best ever….[He] had his faults.  He was a bit of an intellectual snob; he could be peevish and sarcastic, especially as he grew older, but grumpy old comedians should be allowed to say what they think on important social issues just like everyone else.

‘You may call me an apostrophe pedant or an apostrophe fascist.  I like to style myself an apostrophe warrior.  I go about the streets obliterating apostrophes that shouldn’t be there, and less often inserting them where they should be.  Not that I go looking for trouble, but when I spot an apostrophe crime I can’t help myself. ‘