Well, the movie isn't bad. For a while, I even told myself I liked it, even as it missed one mark after another. But in the end, it's shapeless and blandly apolitical, apart from its watered-down feminism. You see, Fey's Kim Baker - changed from Barker - transforms herself from a neophyte reporter, condescended to by male war correspondents, soldiers and Afghan officials, into a hard-charging political animal who speaks the language fluently and parties as hard as men. That's about as edgy as a sitcom.

Despite some standout events, 2012 was demoralizing. The Met felt adrift, and New York City Opera couldn't claw its way back to artistic health.

Let me tell you, if your marriage is in trouble, skip the therapist and find a psycho. Nothing brings people together faster.

I have a female colleague who gets annoyed that Tina Fey seems to go out of her way in her movies to deride her looks, as if she weren't such an attractive woman.

The movie's only serious criticism is reserved for Baker's television network, which doesn't think Americans care about Afghanistan - kind of hypocritical given this film's lack of substance.

What can you say about a man who leaps from a helicopter over Manhattan without a parachute in the hope that by increasing his heart rate he'll transform into an iridescent lime-green behemoth so he can take on an even bigger behemoth? That he knows he's living in a computer-generated universe in which gravity is a feeble suggestion and nothing is remotely at stake, and that when he hits the ground he'll be replaced by a special effect. The Incredible Hulk is weightless-as disposable as an Xbox game.

The rise of video on demand will make it possible for small movies to earn back costs via $9.95 24-hour rentals and for people in cities without independent cinemas to see the kind of movies they never have before. That's great - but on the other hand, that's TV.