might* actually.
And of course, it does occur to me that if it turns out the story is drawing on an existing comics run, Snyder will likely apply his reproduce-the-comics-images-exactly approach, but I'm hoping it'll be an original enough story, or an indirect enough adaptation, to necessitate its own fight sequences.

You know, I have some sliver of hope for this thing, because it's supposedly a Chris Nolan story, and because I think Snyder's visual style (with the exception of the timeramping) but actually turn out to be interesting if he's forced to apply it to shots that are actually composed for film instead of just misguidedly…

Wait, they're talking about using the Claremont/Miller series? You know, that sounds exciting at first, but when I think about it, I kinda feel like what made that book cool was the art. I'm not sure how remarkable the story wil be when it's on a screen instead of drawn by a young-and-still-awesome Frank Miller.

Also, Rowan criticized this episode, but I don't think he's yet criticizing the show. He was very optimistic about the premiere.

Yeah, that fallacy is infuriatingly common on the internet. Criticizing a show is not about saying you could do it better. It's way easier to evaluate what does or doesn't work in an existing thing than it is to be aware of that while creating, this is true—but that doesn't mean those after-the-fact observations…

…your example of "a war movie with an interesting take on things" is fucking Jarhead?

I think the benefits of that will be undercut in the future. This show isn't just gonna let a consequence-erasing machine stand.
I was weirdly touched by Hank's videorecording to himself, though.

Yeah, seduction versus coercion seems like an important distinction to make here. They're not equivalent.

I think he only did the first Potter film, but I agree-much higher quality score than film.

Oh, is Nikki the name of the actual character? Because yeah, the Nikki-Rusty situation is absolutely different.

AJives, I don't know that switching the genders has the impact you think it does. If we're to take that statement at face-value, and Nikki is genuinely thrilled—and since you're using her as a stand-in for Hank, I'm assuming she's 17 or 18, which we've just established is old enough to consent—what is there in the…

for the*

I actually think his scores for the prequels are very different from the scores frot eh originals, stylistically. Also awesome.

Hank vomiting into the hat when he finds out the disgusting truth caps the metaphor nicely.

Yeah, though I'm not sure I agree that Hank was raped, it is good to acknowledge that the above situation is far from unheard of.

As a creative writing student at a liberal arts college, I am frequently subjected to the obstruction technique by professors, and it's definitely led to some of my more successful ideas. There's aso the inverse (or maybe this is just another form of the same thing, not its opposite) wherein you HAVE to do something…

And not to sound like a Polanski apologist, but I'm pretty sure Hank showed up there looking for some lovin'. Though is he legally of age?

I don't think we know enough to make an assumption about whether Rusty was telling the truth with "she said she was 20." I could see it being true, I could see it being a scumbag lie.

Orpheus can brighten up an episode just by showing up and saying anything at all in that voice.

And I just feel like Grizz and DotCom are couterpoints. Sure, they're not main characters, but doesn't their presence alone show that 30 Rock's world includes cpable, responsible black men, and doesn't that make Tracy automatically NOT representative of an attitude toward black people as a whole?