… great, now I’m too busy to blog on Tuesdays, too. Sorry about that. But there’s some good stuff coming as a result of my being slammed yesterday, just hang in there.

And now I can roll out all the stuff I was going to promote yesterday, like the latest episode of Someone Else’s Movie, where Test Pattern writer-director Shatara Michelle Ford tells me about her unconditional love for Nora Ephron’s You’ve Got Mail — which, I mean, it’d have to be — and we end up dissecting and refining the honestly horrible plot so that Joe Fox doesn’t have to be a monster for the whole thing.

It’s a fun episode! Which, if you’ve seen Shatara’s movie, that might come as a surprise; Test Pattern, which I wrote about in the last issue of the NOW Streaming newsletter, is a taut character piece that’s almost suffocating in its intimacy and intensity. So consider this a study in contrasts, I guess. Or a lesson on making assumptions.

You know the drill: Subscribe on Apple Podcasts, Google Play and Stitcher and get the episode immediately, or download it directly from the web. And then you should probably listen to yesterday’s NOW What, where Glenn and I talk to playwright and actor Michael Healey about how NOW’s cover story on his 1999 breakout The Drawer Boy might have changed the course of his life … and how a story I wrote for a different cover package nineteen years later definitely did.

It’s available on all the platforms, but you can also find it embedded in Glenn’s latest 40 at 40 story, right here.

Also! I checked in with Lee Isaac Chung again, following up on last month’s chat for the TIFF Secret Movie Club — see what you’re missing? There’s another one this weekend! — and we talked about Minari and what it means to be an overnight success after fifteen years as a working filmmaker.

Oh, I’ve got a junket piece going up in a bit with Justin Roiland, Thomas Middleditch and Sean Giambrone about the new Disney+/Star series Solar Opposites; for now, you can watch the video of our conversation on YouTube.

… yeah, I’m on YouTube now. It’s weird. Here’s the printed-word version.