You might not need to read all 100 issues of a comic book series to understand what's going on, but the way they're usually written now, most random issues you pick up are going to be one chapter of a six or eight part storyline that will be presented as a single continuous story when the trade paperback collection…

I don't think Whedon writes all characters as talking the same way. His dialogue is very idiosyncratic, yes, but I think that has less to do with the style of the dialogue than with the structure of it.

Or they could just have a giant steal the Apples of Youth but actually get away with it this time.

A person can get fatigued with a genre, but you're not generally going to get everyone fatigued with it at the same time. Someone will lose interest in a genre for a while just as someone else is really getting into it.

The Avengers was basically Star Wars: A New Hope, where the heroes come together and beat the bad guy in a joyous victory, while Civil War was The Empire Strikes Back, where the heroes are damaged and torn apart and the bad guy more-or-less wins.

Iron Man 2 had a lot more going for it than simply setting up The Avengers. It's theme was that Tony had become convinced that there was no one else who could handle the big problems other than him. He doesn't see a need to share his technology, since he thinks he can handle everything by himself, and that no one else…

Thing is, even before this superhero movie boom, there were still lots of superhero movies being made. They just weren't usually CALLED superhero movies.

Crossovers aren't entirely a new thing for movies, either, though. Univesal did something similar to the MCU with its monster movies in the thirties and forties, as did Toho with their own monster movies in the sixties and seventies.

I feel the same way, though since I saw Iron Man 2 before either of the others, that may be coloring my judgement.

Most people who watched Breaking Bad discovered it through Netflix, so there was no need for them to jump straight to episodes from Season 4 or 5; all the early episodes were right there at their fingertips.

Since Squirrel Girl is a mutant, wouldn't her character's movie rights be owned by Fox, not Marvel?

I personally hope that, when their leading actors quit, die, or are deemed too old, Marvel will simply retire the character rather than recasting them or giving someone new the title. I know they've done that twice already, but that was for characters who appeared in their first two movies, before they had really…

But if you allow those drugs, won't the heavily sponsored athletes just start using them in addition to their expensive training equipment? Wouldn't that leave their competitive advantage just as large as it was before?

I dunno, the boxcutters sort of seems similar to when Kramer thought an argument he had with someone at a golf course drove the guy to murder.

Actually, how spec scripts work is that you write a script for an episode of a TV show, then you send that script to all the television showrunners as an example of your work, EXCEPT the showrunners for the show you wrote a spec script for. They CAN'T read your spec script, since they might be accused of plagiarism if…

I know this is a super old post, but I just wanted to congratulate you on the "pull the lever that extinguishes mankind" prediction. Top notch clairvoyance!

I love it in "The Gang Gets Trapped" when he realizes how insane their plan (which he spearheaded) to break into someone's house and steal a vase because "it belongs in a museum!" really is, and complains how "we immediately escalate everything to a 10."

Oddly, the novel that was all about environmentalist villains fabricating evidence of climate change includes an afterword at the end where Crichton is pretty clear that he DOES think climate change is real and needs to be dealt with.

Yeah, I thought the first three seasons were really top notch, but they should have pulled the plug a LONG time ago.

I thought it worked pretty well in Sin City.