John Hodgman

Hodgman tends to make an eccentric line sound as though it needs no explanation. His understated delivery lets a supporting character be funny without asking for attention at every pause. He began appearing as the PC in Apple's advertising in 2006, before recurring as Louis Greene in the ensemble comedy Bored to Death (2009). That transition suits a humorist whose timing works well in small parts. We rate the restraint, though the succession of awkward characters can begin to feel like a casting habit.

Coraline (2009) is the stronger reason to seek him out: he voices Charlie Jones and the Other Father for director Henry Selick. We were frightened by the button-eyed parents because the film takes a child's dissatisfaction seriously and makes the alternative alarming. Hodgman's own explanation of his voice work is useful: “The Other Father character works [because] I found this dumb Dean Martin impression that is bigger than John Hodgman, and more alive than John Hodgman.” That larger voice is the part of his acting we would like to hear more often.

Poker Face (2023) is excellent company, with a caveat about cases that dawdle, but it is chiefly Natasha Lyonne's warmth and humour that make it so. Hodgman's guest role is a smaller reason to watch, and we would not pretend it tells us as much about him as Coraline does. Small appearances make good use of his timing, but do not always give him enough to develop beyond the initial oddness.

Creating Dicktown (2020–) marks a move towards making the material himself. His work with co-creator and co-star David Rees offers a reason to be curious about what they make together, rather than merely where he turns up next. We would welcome fewer assignments that ask only for another awkward intellectual. For the clearest reason to listen to him, start with Coraline, preferably before any children in the house are due in bed.