Scott Tobias

Scott Tobias is the film editor of The A.V. Club, the arts and entertainment section of The Onion, where he's worked as a staff writer for over a decade. His reviews have also appeared in Time Out New York, City Pages, The Village Voice, The Nashville Scene, and The Hollywood Reporter. Along with other members of the A.V. Club staff, he co-authored the 2002 interview anthology The Tenacity Of the Cockroach and the new book Inventory, a collection of pop-culture lists.

Though Tobias received a formal education at the University Of Georgia and the University Of Miami, his film education was mostly extracurricular. As a child, he would draw pictures on strips of construction paper and run them through the slats on the saloon doors separating the dining room from the kitchen. As an undergraduate, he would rearrange his class schedule in order to spend long afternoons watching classic films on the 7th floor of the UGA library. He cut his teeth writing review for student newspapers (first review: a pan of the Burt Reynolds comedy Cop and a Half) and started freelancing for the A.V. Club in early 1999.

Tobias currently resides in Chicago, where he shares a too-small apartment with his wife, his daughter, two warring cats and the pug who agitates them.

The mediocre animated comedy The Secret Lives of Pets is based on an original idea by Chris Meledandri, the head of Illumination Entertainment, the studio responsible for the Despicable Me movies and their popular spinoff Minions. That idea?

In recent years, the word "fan" has become a pejorative in the movie world, linked to mobs of entitled young men torching critics of comic-book blockbusters, advancing sinister conspiracy theories, and preemptively

The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing together since 2000, but they didn't reach national prominence until 2005, when their Saturday Night Live digital short "Lazy Sunday" went viral. "Lazy Sunday" crystallized the troupe's winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of The Chronicles of Narnia.

With Monty Python as the exception that proves the rule, the big screen has been historically unkind to sketch comedy teams hoping their offbeat sensibility will survive the leap from five-minute bits to 90-minute features — and from cult fervor to mainstream success. Some fail outright, like Mr. Show's Run Ronnie Run or The Kids in the Hall: Brain Candy, while others are embraced by fans after tanking, like The Lonely Island's Hot Rod or The State's Wet Hot American Summer.

It's been 14 years — and one failed TV spinoff — since Nia Vardalos' My Big Fat Greek Wedding became an unlikely pop phenomenon, grossing $241 million domestically in theaters alone off a $5 million budget. And it's probably taken that long to understand why it took off where so many others didn't: Celebrations of ethnic cultures were not uncommon in the indie world, especially if food was involved (e.g. Eat Drink Man Woman, Big Night, etc.) and neither were Hollywood-style romantic comedies on a shoestring.

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