Monthly Archives: November 2012

By Meryl Gottlieb|| @buzzlightmeryl
Glee airs Thursdays at 9 p.m. on Fox
Rating: 2.5/5

Glee-4x08-1I can tell the show is trying to return to its original flawlessness – clues are all around – yet it just can’t quite make it, and I doubt it ever will.

Quinn (Dianna Agron), Puck (Mark Salling), Mercedes (Amber Riley), Santana (Naya Rivera), Mike (Harry Shum Jr.) and Finn (Cory Monteith) all sing a mash-up of “Homeward Bound” and “Home” because, you know, they are all back home. Smart, right? Now, this would be a fantastic idea had four out of those six not already come back home, several times. Nothing makes me more bitter than seeing them all flock back to McKinley; have a life!

Finn has the graduates mentor some members of the New Directions in preparation for Sectionals. Just putting Mercedes and Wade (Alex Newell) next to one another was phenomenal; though unfortunately nothing else ever happened with it. However, of course, Kitty (Becca Tobin) is paired with Quinn, and she couldn’t be happier; and, of course, this pair is played out. I want to puke – no pun intended towards Marley (Melissa Benoist).

Throughout the entire episode, Jake (Jacob Artist) and Ryder (Blake Jenner) continually try to be good bros for one another and it is just annoying. Stop saying “dude” all of the time; it’s sickening. I don’t hate your characters, but if you keep this up; I will.

Rachel (Lea Michele) and Kurt (Chris Colfer) have decided to not go home for Thanksgiving because of their relationship drama. Instead, they are going to do Thanksgiving with one another. When I’m living in New York with my gay best friend, who I’ll find quickly because I love musicals, I want this to happen.

Santana, Quinn and Brittany (Heather Morris) show up the girls of the glee club with “Come See About Me” in the style of how they performed their first song, “Say a Little Prayer,” back in season one. I reminisced, and it was marvelous.

Kitty has a picture of Quinn in her locker, making me think that within the next episode or two, Kitty will kill Quinn.

After settling their differences, Brody (Dean Geyer) pretty much invites himself over to Rachel and Kurt’s Thanksgiving. So after sleeping with her enemy, you just expect to waltz your way back into her life? – No dancing pun intended, I promise!

Kurt then invites Isabelle (Sarah Jessica Parker) and her friends over for Thanksgiving as well.

Quinn and Santana have one of the best interactions I have ever watched! First off, can I applaud Santana forever because of what she said about Kitty: “The bitch is pure evil.” THANK YOU! Finally, someone else realizes this!!

The two then get into a fight filled the witty, bitchy remarks I have missed so much. The kind of mean that is more so funny. Quinn thinks Santana is jealous of her “success” at Yale, which includes getting into a snobby sorority and dating a professor. Yeah, be proud of that. Then there’s a slap fest! I missed when those two fight; it’s great entertainment.

Brody and Rachel manhandle the turkey. Just thought you ought to know.

Also throughout this entire episode, Marley is freaking out about the Sectionals performance because she is a key player but also because her mind is twisted since she hasn’t eaten anything. Even after Santana found the laxatives in Marley’s bag, nothing has been done to stop her! Are you kidding me?!

The Warblers perform “Whistle” for Sectionals. Ugh. First off, another dumb choice for a show choir performance, this displays no vocal ability. Second, Hunter (Nolan Gerard Funk) is terrible at lip-syncing and his facial expressions when singing are just weird. Go away.

Their second song, however, was better, even though I hate One Direction; Sebastian (Grant Gustin) sang “Live While We’re Young.” This song matches the Warblers’ style in song and dance. Stop trying to cover all the pop hits – think about the choices, please.

Now, my favorite part of the episode, which has been stuck in my head, on repeat:

Isabelle, Kurt and friends sing, “Let’s Have a Kiki.” I had never heard of this song before tonight’s episode, but can I just say it’s fabulous. When I watched the episode, I was instantly into the song but couldn’t figure out why. I still have no clue, but it is so incredibly catchy. I withdraw anything negative I ever said about SJP’s character because I now love her. Kurt was also wonderful in this as well; the sass that was overwhelming in season one but has dwindled since was revisited in this song.


Check this link out and catch the kiki fever:  You can thank me later.

The song is mashed with “Turkey Lurkey Time” from the Broadway show “Promises, Promises.” While the two do not fit at all, both songs, independent of the other, are great.

Kurt calls Blaine (Darren Criss), telling him that he believes that Blaine is sorry but just isn’t ready to forgive him. However, he still misses him and wants to meet up over Christmas! Tumblr will be abuzz tonight.

Now for the ridiculous part of tonight’s episode, when New Directions does “Gangnam Style.” Tina (Jenna Ushkowitz) doesn’t even sound like herself. It seemed auto-tuned for the most part and was just stupid to do at all. I don’t even want to talk about it.

At the end of the performance, amid the confetti, Marley faints. And I don’t really care because I’m totally over this storyline. What happened to her? My original thoughts were that she was going to be the big breakout star; not with this terrible storyline you’re not! Also, I’m going to reiterate again as to what on earth would be wrong with a pretty normal person being in glee club; it’s not against the law. Geez.


By Meryl Gottlieb|| @buzzlightmeryl
American Horror Story airs Wednesdays at 10 p.m. on FX
Rating: 5/5

American Horror Story keeps getting better and better. I’m starting to believe that the obsessive nature I had for last season has grown to include this season as well. The continual twists and turns and ideas that are put into each show just blow my mind every time, and I love it.

Grace (Lizzie Brocheré) is in the infirmary, losing tons of blood from her botched hysterectomy, and sees the Angel of Death, aka Dark Angel, (Frances Conroy), who almost kisses her but nuns revive Grace before it can happen.

Can I just say that Conroy’s whole performance throughout this episode is perfect? She has that quiet way that comes off as powerful, in which she also steals every scene. Not to mention, the effects of her wings, just when she is about to kiss someone, is breathtaking.

Well done, Ryan Murphy. I’m glad you have the sense to bring back someone who is so amazing. I am not so pleased, however, at the knowledge of Dylan McDermott coming back to AHS – why?!! No one needs another Ben Harmon-type character to ruin this season too!

Arden (James Cromwell) says he never sterilized Grace – it had to be the aliens! My goodness, can we just find out about those guys already?!

However, Sister Mary Eunice (Lily Rabe) patronizes him for his botched job with Grace and tells him she is really the one in charge and uses her demon powers to throw him against the wall. Tell him, sista. *Snap *Snap

Upon listening to the voices in his head, a newly introduced patient named Miles cuts his wrists on the slicer in the kitchen. Mary Eunice arrives at the scene to find an Aramaic word written in blood on the wall. She asks Miles why he sent “her,” but he has no idea about what she is saying.

Miles wants to die and is kissed by the Dark Angel. Mary Eunice then enters and wants the Dark Angel to leave. The Angel identifies Mary Eunice as someone like her, another fallen angel – they are cousins. Oh, the satanic references galore.

The real Mary Eunice and the demon possessing her fight for control of her body, but the demon takes over once again.

Arden decides to treat Grace just to save his reputation. Keep doing those kinds of things and you will never have a good fan base.

Kit (Evan Peters) sits down with who I believe to be Bob from That ‘70s Show, though IMDB has not listed it yet. Bob continually tells Kit his situation is essentially hopeless; Kit, in a state of panic, hits him over the head and runs – because that’s definitely going to help you win the case.

After Thredson (Zachary Quinto) rapes Lana (Sarah Paulson) – a heart wrenching scene to watch – the Dark Angel appears besides her, but Lana tells her “not yet.”

Thredson comes back and tells Lana that they are at an impasse, so she must die. As he attempts to sedate her, she hits him over the head with a framed picture of Wendy. She then strangles him with her chains before she releases herself. However, he is not dead, of course.

Lana runs out onto the road and gets into the car of a deranged man who takes out his pain from his wife’s infidelity on Lana. The Dark Angel appears, and Lana fears it is for her; however, the man then shoots himself, causing a horrible car accident.

Lana awakens in Briarcliff. Oh no, not this again.

In a flashback to 1949, Sister Jude (Jessica Lange) is fired from her band and tries to run when she hears detectives want to ask her questions about the hit and run. She drives drunkenly into an angel statue at a convent, presumably where she takes her vows.

Back to 1964, Jude considers killing herself and slits her wrists. Yes, this is shown, but no it is not true because it was just a thought of hers! Ryan Murphy don’t you dare ever tease about killing Jessica Lange’s character! AHS is nothing without Jessica Lange; after all, who is the only one that won an Emmy for the show? Huh?! Huh?! I rest my case…

Jude confronts the Dark Angel in a diner, but apparently, they have met before. Once after Jude told her husband that he gave her syphilis and she couldn’t have kids and after she killed that girl. I can’t even describe my feelings for this scene – actually, I can: it was magnificent! The whole scene was just filled with powerful acting and captivating dialogue that is the true reason the show is so great.

Plus, to see Frances Conroy and Jessica Lange interact again on the show was a great throwback as well. Lange just doesn’t shoot Conroy in the eye this time. Disappointing.

Jude goes to the family of the girl she killed but discovers that the girl didn’t die. And now, Jessica Lange performs the monologue that will win her the Emmy for this season as well.

Kit has escaped custody and runs through the Briarcliff tunnels to save Grace. However, one of Arden’s creatures follows him in and kills a nun that had spotted Kit and Grace. Kit kills the creature, but a guard comes in and shoots at Kit but actually hits Grace who blocked the shot.

As she lies on the floor, the Dark Angel kisses Grace.

I have to say… she won’t be missed.

By William Hoffman | | @Wilbur_Hoffman

After three five-song EPs, Angela Perley and the Howlin Moons have really come into their own with their newest EP release Nowhere is Now Here.

Listening to their older recordings nothing really stands out for me, but seeing the group perform live it was obvious that front woman Angela Perley and lead guitarist Chris Connor have some serious talent and chemistry on stage.

Nowhere is Now Here brings that energy I saw on stage to your headphones. “Country Fair,” “Nowhere is Now Here” and “18 Feet Underground” are the standout songs off the EP for the high energy and roaring guitar solos from Connor.

These three songs exemplify the direction the band should be taking, towards a bluesy Americana country sound. As long as the band allows Connor the freedom to solo and channel his inner Brad Paisley, they will soar because if there were a contest for best local guitarist in southern Ohio, he would be a serious contender.

But it’s not all good. The two ballad tunes are oddly placed at the beginning and end of the EP, which gives a bad first impression of the record. The two tunes are also just “ehh.” They’re boring — not bad, not good.

But my biggest gripe is that this is the fourth EP. Where is the full-length album? They have the high-energy country rock song formula down; they just need to work on the ballads a little more and this talented group could easily crank out a full-length album.

Not everyone will like Angela Perley’s vocal styles (I personally love its originality but it requires a refined taste), so I would suggest a listen on Spotify before a commitment is made on the EP. But if this group is coming through your town, don’t miss the chance to see them live. Hopefully they will make their way back to Athens sometime soon.

By Will Ashton |
Life of Pi | Directed by Ang Lee | Rated PG

Since its release in 2001, Yann Mantel’s novel Life of Pi has gone on to inspire and influence people in ways very few books are able to today.

President Barack Obama, before his time in the White House, wrote a letter to Mantel gushing about his love of the book and stating that it is “an elegant proof of God, and the power of storytelling.” It won the Man Booker Prize for Fiction in 2002, and is often considered, next to Cormac McCarthy’s The Road and some others, as one of the best books of the past decade.

Needless to say, the book’s success peaked the ears of Hollywood and worked its way on the silver screen. Despite the term “un-filmable” being thrown around and being tossed around to various different directors, the book is now a film.

But is it a good film? Yes. Not only is it good, it’s downright great.

The story follows Piscine “Pi” Patel, a young boy in India who struggles to determine what is truly the real passage of God. Being Hindu, Christian, and Islam, he is often teased and questioned, even from his family, for his uncertain idealisms.

It’s not until his family’s zoo goes for sale and he begins moving to Canada that his life’s purpose truly begins to find meaning. When the ship carrying himself and his family sinks in a terrible storm, Pi is left stranded in the middle of the ocean for many days in a lifeboat alongside a tiger named Richard Parker. As their journey grows longer on the sea, each are able to grow and bond, and Pi is finally able to find the true value of God in his life.

Admittedly, Life of Pi is not a movie that starts off fantastic. For the first 30 minutes, focusing on Pi’s childhood and growing up in India, the movie begins as a rather average and traditional tale of a boy struggling to find his way in life. Despite India always looking beautiful, thanks to cinematography by Claudio Miranda, the movie never truly delves into any points or themes that have not already been found in other films before it.

It’s not until the ship wrecks and Pi’s adventure on the boat begins that the film really becomes great. Oddly enough, the scenes between Pi and Richard Parker — the very scenes that likely scared away most directors from this project and what determined the film to be considered by many to be “un-filmable” — are the ones that are the greatest.

The special effects for this film, provided by Rhythm and Hues Studios, are astounding; there are easily the best digital visual effects that I have seen all year. All the animals look photo realistic, and because of this, we, the audience, are able to buy into the film’s story. I would be shocked if this movie didn’t get a nomination for Best Visual Effects at the Oscars, let alone the win.

This is not an easy film to make, but director Ang Lee makes it seem seamless in his ability to strike such beautiful imagery onto the film’s story and messages. While it will get very heavy-handed at times, it is a movie that’s actually powerful and beautiful enough that its strong-hitting messages are effective. Lee is such a gifted storyteller that is able to bring such importance to even the simplest of aspects in the story, which makes them among the most powerful in the film. He is even able to make a CG-animated look and feel like a fleshed-out character.

Life of Pi is one of the most outright “spiritual” films to be made by a major studio in years, maybe even decades. Unlike Flight, which pretty much forced you to buy into its God-driven beliefs, Life of Pi wishes to have you grow and understand the power of God, much like its main protagonist. The biggest fault of most religious movies is that it expects too much from audiences right off the bat. What makes this movie so effective in its religious values is that, not only is it able to make it seem accessible to wide audiences, but it even allows its religious messages to be open for interruption. Something most religious movies fail to allow, even an option.

Suraj Sharma, who, primarily, plays Pi throughout the film, was selected from 3,000 different actors for the part, and for good reason. As the lead character acting against a CG tiger for 75% of the movie’s running time, he has a lot of weight to caring on his shoulders. Despite the hefty expectations, Sharma does a wonderful job as Pi. He is able to give the character a great deal of depth and emotional complexity, without making it become oversaturated. He, effortlessly, is able to work against his animated co-star and make it all seem real. This is his first acting job too, which is even more impressive.

Life of Pi was a film many years in the making, and Lee, despite being a masterful filmmaker, had big shoes to fill. Yet, he does a wonderful job adaptation this book to the screen, along with screenwriter David Magee, and provides us with one of the beautiful films made this year, both visually and thematically.

Adaptations of books are hard as they are already. There is a popular quote that “great books make terrible movies,” and visa versa. While this is something I never believed nor took to heart, with adapting a book as challenging to send mainstream as Life of Pi, it can grow understandable.

My brother, a man who considers this to be one of the best books he has ever read, walked out of this film believing that this was, bar none, “one of the best adaptations to film ever done.” I may not say such a statement, but Life of Pi is definitely one of the best movies I have seen this year. It’s not only a film you see, but one you experience, and in 3-D too.

By Meryl Gottlieb|| @buzzlightmeryl
How I Met Your Mother airs Mondays at 8 p.m. on CBS
Rating: 5/5












Thank you, writers; thank you!! Last week I asked for a good storyline and you gave us one!

Before I begin, however, I would like to say tonight’s episode title “Twelve Horny Women” does not make a reference to “Twelve Days of Christmas” song – my initial thought, what? I love Christmas – but actually to the film about a jury titled “Twelve Angry Men.” The HIMYM writers out-referenced me; this is when I know they are at the top of their game.

According to Bob Saget, we flash to “a little ways down the road,” when Marshall (Jason Segel) goes before the New York State Judiciary as a result of the case involving his firm against the pharmaceutical company Brad (Joe Manganiello) is representing, who has polluted Frog Lake.

I kept feeling that I should be worried about him being in front of the judiciary but because I have no idea about what the judiciary does, I wasn’t really too concerned.

The gang is going to support Marshall and decides to sit in court while the trial goes on, which brings about a competition between the four as to who was the biggest “badass” as a teenager.

A hilarious flashback of Lily (Alyson Hannigan) ensues in which she is in her goth style, walking down the street while everyone else runs away. The flashbacks Lily has of her “troubled youth” are some of the best moments of the show; Hannigan has Lily down pat and is a great comedic actress.

Ted (Josh Radnor) remembers when he was getting his mug shot. I don’t believe this one for a second. Hint: I was right.

Marshall envisions winning his case and talking with his son years later about how doing good deeds has a ripple effect that causes other good deeds to occur. I hope we get to see some episodes of Marshall and Lily parenting, because they would be the best/ cutest parents ever.

Back in the court, Brad displays how to be the worst lawyer with a bit too obvious performance to show how idiotic the character is. However, he does have some leeway in the case because of his good looks, which wins the hearts of the all female jury and even the male judge.

Yes, Joe Manganiello did the “Bend and Snap” for the jury. Because 60% of the time it works every time.

Every silly tactic Brad does is hilarious, and Marshall tries to counteract the cuteness by bringing in an adorable duck that suffered from the pollution of the company his firm is suing. Brad retaliates with a video he made about how glorious Frog Lake is, which includes half naked scenes of himself while swimming and winking at the camera.

The cheesiness of the video made it hilarious to watch; it was like one of those bad commercials that are just so awful that you have to watch it over again and laugh at. Plus it wasn’t too bad to look at Joe Manganiello’s hot bod for a few minutes.

Robin (Cobie Smulders) says she was a badass, despite the fact that she is from Canada. You don’t mess with Robin Sparkles. Guys, no joke, she got a “ZUI” – because she was driving a Zamboni. Writers, it’s the little things you do that make me love you; and Cobie, Robin is a badass because you are a badass, Agent Maria Hill.

Almost out for the count, Marshall calls Brad to the stand and asks him to remove his shirt – showing the rash he has from Frog Lake. The verdict is in, and the pharmaceutical company is guilty, but instead of being fined $25 million like Marshall’s firm wants, the company is fined only $25,000. Marshall is definitely less than pleased.

The bailiff who recognized Barney (Neil Patick Harris) earlier only knows him because they were both in the Magic Enthusiasts Club in which Barney’s tiny hands were finally accepted.

And here come the truths about the gang’s pasts…

Ted’s mug shot was actually when he at a medieval festival – I’m not even surprised. Robin didn’t trash her hotel room rocker-style but instead got a trophy for being the best guest there. Robin Sparkles, I am disappointed.

Brad comes to McLaren’s to thank Marshall for setting him straight; he’s even now going to be a part of Marshall’s firm. However, this is when Marshall’s legal career is changed: when Brad tells him he is good, has integrity and intelligence and should be the one behind the bench.

And now we’re back to “a little ways down the road” where Marshall officially announces that he is there because he wants to be considered for a judgeship. I’m so proud right now. That’s my Marshall; you go be the best person you can be because you are a ball of sunshine and I love you.

Tonight’s whole episode was honestly just wonderful. I never stopped laughing, especiall with all the legal puns Marshall made. The competition idea was great because it played on the gang as a group and highlighted their friendship. The cast’s chemistry is overwhelmingly amazing to watch and is often the redeeming quality of the show.

Speaking of chemistry, Robin and Barney finally discuss their kiss. Barney decides he’s done trying to get Robin back because he’s sick of it being awkward between them. NNNNNOOOOOO, you must never stop Barney Stinson, not until I see that wedding played out. As he goes to the bar, Robin has a deep ponder and says “Huh.” The end.

I swear if they do not play into that “Huh” next episode, I will never watch the show again – no I can’t do that, but I will be furious!

Just so you know, Lily was the true badass. And all is right with the world.

By Will Ashton |
Lincoln | Directed by Steven Spielberg | Rated PG-13

Daniel Day-Lewis. Steven Spielberg. Abraham Lincoln.

One is among the greatest actors of all time. One remains one of the greatest directors working today. The other is one of the best presidents the United States has ever had.

When these three forces come together, it would be hard to believe that they would create something of little impact. Needless to say, they make one of the best films so far this year with Lincoln.

Those walking into this movie expecting the full life story of the 16th president may leave a little disappointed. Lincoln narrowly focuses itself on the president’s time during his second term as president, where the Civil War had been in effect for many years and the 13th Amendment was growing closer to being inducted into the Constitution. Despite the president’s ongoing efforts to support civil union, he continues to face the difficulties of winning the majority vote from the opposing Democratic Party.

Based, in part, on historian Doris Kearns Goodwin’s biography, Team of Rivals: The Political Genius of Abraham Lincoln, Lincoln is not a movie that wishes to completely explore the man behind the beard and top hat. In Spielberg’s own words, that story is “much too big” to tell. Rather, the movie explores how one man wishes to change the fate of humanity within his controllable reach, through primarily focusing on one strong period of his life.

This is a film that Spielberg has wanted to make for nearly 12 years, and it definitely shows. When Spielberg grows passionate about something, it shines very clearly on the theater. While I, admittedly, still enjoy efforts like War Horse and Indiana Jones and the Kingdom of the Crystal Skull (I admit it…), it’s clear that when he makes a film like this, or even last year’s fantastic adaptation of The Adventures of Tintin, and his heart is completely in it, he can create magic.

But what is a depiction of a great man without an equally great performer behind it? It’s no secret that Day-Lewis is an amazing actor, and it should come to no surprise that he is among my favorite actors of all-time. So watching his depiction of Lincoln on screen should be expectedly incredible, and sure enough, it is.

Day-Lewis embodies the president, absolutely and completely. He is able to fit into the larger-than-life persona like a glove, but he is also able to make him a man. A simple man, at that, who just wishes to make things right in his life, as well as those in it, and in his country through this difficult time. He drives the character in both subtle and showy measures, but both to appropriate effect.

It’s an award-worthy performance, undoubtedly, and one that may very well lead to Day-Lewis taking  his third golden man home Oscar night.

In addition to his performance, a large supporting cast of performances from such performers as Sally Field, Joseph Gordon-Levitt, John Hawkes, Lee Pace, David Stratharin, Hal Holbrook, Jackie Earle Haley, Tim Blake Nelson and, most notably, James Spader and Tommy Lee Jones are all also very strong, even in small measure. In fact, don’t be surprised to see Spader or Jones get nominations, or wins, of their own this award season.

Beyond its performances and direction, the film’s screenplay and the art and production design are extremely impressive. The film’s attention to detail (the ticking of Lincoln’s clock is actually from the president’s personal clock, recorded from the president’s museum in Illinois) and concentration of crafting such beautifully accurate sets makes the film so much more immersing and engaging. Additionally, the film’s script by Tony Kushner (who also wrote Munich for Spielberg) richly emerges itself in the words and times of its characters, often lacing in some sharp, and well-needed, political humor and provides a strong context for the issues at hand.

The movie is with its hiccups along the way. In the beginning, the movie, needlessly, beats you over the head with references to the president’s actions and speeches in a rather forced manner. Don’t worry guys, the title comes up on the screen before the movie started and our tickets say Lincoln on them. We know we didn’t walk into Skyfall.

Additionally, the film will occasionally juggle with whether it wishes to be more about the man or the issues during the beginning. But once the film finally decides that it’s about how the man influenced the resolution of the issues, it grows its well-need sure footing.

Also, some issues dealing with Lincoln’s family, including his wife’s mental illness, the death of Lincoln’s one son (it happens before the film starting point, I didn’t spoil anything), and his other son’s dysfunctional relationship are not fully developed, which is kind of a shame.

Overall, however, Lincoln is a fascinating and immersing biography about the president, and while it is a film that history buffs will undoubtedly love, thanks to passionate filmmaking and great performances, it’s also one non-history buffs can love as well.

Greetings Andrew Garfield,

I’m here to tell you that I love you.

When I first saw your face in The Social Network, I knew you were destined for great things, and you were destined to stay in my heart forever.

I was right, because you went on to play an IMPECCABLE Peter Parker in The Amazing Spider-Man, and you haven’t left my heart yet.

Now, your face did draw me in, but I’m going to let you in on a little-known fact about me. I have to like a guy’s hair to think he is attractive. Don’t ask me why. I can’t explain it. That’s just the way I am. And you sir, have flawless hair.

So you can act, and you look good. But, you are also British/American (dual citizen for those of you who don’t know), which wins 100 points in my book.

I was also surprised to learn that you were in The Imaginarium of Doctor Parnassus. That is one of my favorite bizarre movies, and not to mention Heath Ledger’s final film. And you were in a few episodes of Doctor Who.

Plus, I saw Never Let Me Go (which broke my heart) and I’m Here (which also broke my heart). Needless to say, you have a talent for breaking my heart and putting it back together again.

Adding the chocolate syrup to the sundae, you were in Death of a Salesman on Broadway. On BROADWAY. Stop it Andrew. Just stop it. You’re too great.

But just when I thought that you couldn’t surprise me more, you danced on Ellen, and it was for charity!!! I was in tears by the end of it. You are hilarious and so kind. Sigh. That, kind sir, is the ultimate cherry on top of the Andrew Garfield sundae.

So in part, I have to say I am extremely jealous of Emma Stone, but I’m not mad about it. You two are adorable. I just hope to find someone as perfect as you.

Never let me go,
Anjelica Oswald