I didn't think it was a great episode because it did sort of scream itself as a thesis/ all about concept story.
Yeah, every Who doesn't need to be monster-of-the-week or world building, but I thought Listen played it's hand way too heavy and self important.
I just cannot see myself rewatching it with the same fervor as…

I thought it was pretty damned terrible.
If their aim is to be different from Walking Dead by being more pulp and exploitative, they completely fail.
The action was really bland and sloppy.
The acting was bad and the characters woefully underwritten archetypes.
The production looked as cheap and groan-worthy as their SyFy…

Ingmar Bergman's Blade Runner

I'd like the black rain burger with a cancer shake, please.

Flame broiled….

Pickpockets?
Who the Hell has pickpockets preying on them?

It's also nice to see Chelsea Peretti getting more tv work.

Actually, Stallone was once shopping around a sequel where Rambo hunts and fights some kind of Army bred, genetically engineered mutant.
He'd taken some script based on a scifi book, if I recall correctly, and inexplicably shoved Rambo into it, but the movie never got beyond the early stages.

True story: I was trying to get a shot of the gates of Graceland and was almost run over by the tour bus.
Not the death I had envisioned, as, likewise, dying on the toilet was also probably not how the big E thought he'd go out.

James Adomian's first break was as her opener and he told a touching story about how he bombed really badly one night, the octogenarians of the crowd giving him a rough time, and Joan went out and berated them.

I remember Valkyrie getting slagged because the cast is mostly British playing Germans so Tom Cruise tries a British accent.
Which is just silly.

I've always preferred Pirate Prude, ever so slightly, to Dirt of Luck because it's more ragged.
Boy, are those first two Helium albums some great dissonant alternative music.
Magic City, though, is some fantasy teen girl journal blather.

I begged my mother to see Spacehunter: Adventures in the Forbidden Zone.
Poor, poor woman.

Great Escape is also one of the best examples of how an ego handled being in an ensemble.
McQueen's character was clearly molded by him, designed for him and him alone.
He always makes sure he stands out, keeping his screentime with the other actors to a minimum, and literally, hilariously, putting the other actors in…

I love how Holden braced at Stalag 17 because the character was the antithesis of a hero (which was the whole point)… he thought it would ruin him but it got him an Oscar. By the time Kwai rolled around, he was like, "Let's do that again."

Chopper and Bronson are a great double feature.
They both do a great job of portraying a sociopath's love of their own infamy and legend (with really wicked black comic streaks and even surprising turns of compassion).
Chopper is one of those movies that within it's first few minutes you just know you've got something…

I was the target age for Popeye when it was released and I saw it in the theater.
My young self was mighty unimpressed with it.
I don't recall a single friend who was a fan.
I know I didn't want to go see it again- something you always did if you liked a film in the pre-vhs age.
I think, at the time, the Herbie Goes…

Capaldi was fucking awesome. It's really such a good fit. He gives the good old Doctor charm along with great venom and gravitas. The actor always informs the part and right out of the gate they played to his strengths quite well.

70mm seems an odd choice based on the script leak. Most of the film takes place in an interior during a snowstorm and occasionally it would say a basic external landscape shot, something that would be a second unit insert, was in GORGEOUS 70mm. "Huh? Why?"

Unlike being a willfully ignorant cunt and dismissive alpha-asshole, suicide is usually not just some lifestyle choice that a person makes.