To me, Amanda Seyfried is immortal for "Mean Girls." She has had a fabulous career, though she has never topped that Tina Fey/Rachel McAdams masterpiece. For "Law and Order: SVU," Seyfried did terrific work as a kind of Elizabeth Smart stand-in. (Seyfried's guest appearance is legendary, and you have to do quite a bit to boost yourself above nearly thirty seasons of colleagues' SVU performances.) I also recommend Seyfried in "The Housemaid." Finally, "The Dropout" is entertaining, but, like others, I wonder if it's morally questionable. I wonder, if you're going to fictionalize very recent events, why would you not change the names of the real-world people you're thinking about? (Seyfried is taken to task about this--but shouldn't the focus also include the "Dropout" scriptwriter, Liz Meriwether?) Watching Nathan Fielder's clever "You Can See Everything," I admired several choices. First, I admired...
The other video I constantly watch is for Janet Jackson's "Miss You Much." I'm not a Jackson scholar; I'm just an enthusiastic amateur. But I do love her. In her youth, Janet is positioned as a girl next door. So, in "Miss You Much," we see her hanging out with peers at a billiard parlor--she is deflecting gossip about a possible crush. (It's difficult to imagine that--at any point in her life--Janet has traveled *anywhere, to any location* without a retinue of professional handlers.) ....The "girl next door" phase also involves one of my favorite lines in any verse of any song--Janet describes having worked hard all week, having just cashed her paycheck. The idea of Janet Jackson living paycheck to paycheck is something that makes me giggle. For a while, Janet is so successful, you just need to pick a common phrase and set it to music, and it becomes a hit. "Miss You Much" grows out of someone, a writer, noticing that he often b...