No offense to Ms. Jones, but tough shit. If you want to be consulted, start producing and buy into controling properties. This is no more a ‘fuck you’ to the reboot cast than the reboot was to the OG Ghostbusters. If the reboot had been a popular blockbuster, there’d be a sequel coming out this year. 

Of course she bombed. She’s not funny. This is why y’all gotta stop gassing these people up that won’t be around in 5 years. Yea Black girl magic. We all glad to see Black stars rising etc. But being Black doesn’t automatically equal talent🤷🏿‍♂️. 

The first movie was great. The second movie was less so. The joke is getting old. Just like with the comics.

Action scenes in movies are very often not directed by the person or persons with the main “Director” credit, so this isn’t actually unusual at all. If you’ve ever wondered what a “second unit director” is when you see it listed in the credits- that’s it. It’s the person who does the action. For instance, the Russo…

I can’t believe someone in marketing was like “And then, on December 10th, let’s just give them a little taste, leave them wanting more. Oh yeah, they’re gonna love this.” 

Joy should have asked Meghan why she’s so concerned about a man who called her father a loser.

I’m a woman of 61. I have a B.A. in Human Sexuality and an M.A. in Counseling. I also happen to have been molested as a child for 12 years, from 4 to 16, by a relative. My personal experience and professional training tells me that sometimes women’s past experiences have made them protective, wary and suspicious of…

Oh, that would have been amazing. Just a quick video montage of each one rejecting him in their own way, ending with Jess “Go shove it up your-” Tony shuts the laptop quickly. 

No, but I’d like to see Jess’s reaction to being asked...

I’m surprised that there’s not a line of comic books bringing together the various properties within the MCU. Even something as simple as a limited run detailing what the characters experienced during the “snap” (can you imagine poor Matt Murdock, oy). I mean, Disney is going pretty wild with their extended Star Wars…

Civil War would really have been the movie to bring in a TV property. Instead of Tony going to get Parker, he could have got almost any other street level hero.

Well, duh.

Society has been seeing a resurgence of issues like facism, racism and sexism that cyberpunk always assumed wouldn’t be an issue in the future. In reality, those things are causing a stratification that could easily add new dimensions to cyberpunk stories... something Mr. Robot has touched on to some extent (racism…

I think it is one of the strengths of the genre! Yes, it is somewhat dated, but the whole idea isn’t “hard sci-fi” representations of probable futures, but something closer to alternate timelines. It adds an instant suspension of certain realities that frees up story time for characters and exposition.
I love the…

Considering the only works that have ever properly implemented the Ridley Scott/Syd Mead Blade Runner aesthetic are Blade Runner 2049 and that old Westwood Blade Runner point-and-click adventure videogame, I am not at all tired of it and could happily spend more time there.

I dunno about all that.

Remember the fight with the giant maggot?

Remember the prelude to that fight?

Remember the super edgelord dialogue that devolved into, “Fuck you!” “No, fuck you!” “NO, FUCK YOU!!!”

...that mocking the edgelord assholes who think looking down and away from someone they’re insulting is somehow…

See ya, Double-Spaced Cowboy...

Kal-el was a godlike alien. Diana came from a race of superwomen. Aquaman isn’t entirely human.

Nobody ever reads a story to find out whether the hero will get out of their predicament. They read it to find out how. The idea that you need death to be permanent in order to keep the audience entertained is like suggesting that people go see heist movies to find out whether the thieves will really manage to pull…

Are we assuming that death is the only stakes that matter? Because we, as audiences, can usually make some pretty firm guesses about who won’t die in a series, even when the implied threat is there. That doesn’t stop making it an effective narrative tool.