The idea that the kid in the commercial represents people in the town ensorcelled by Wanda’s magic, and that the commercial, among other things, shows the possible consequences for them if all this continues, doesn’t mean the commercial is not about Wanda. That would be like saying either the man or the woman or both…

To me, they have been hinting all along that something was different about Rambeau BEFORE she went through the barrier the first time, and the multiple encounters with Wanda’s powers/the barrier are interacting with that to cause her superpower evolution.

The emotional heart of the show is that the love between Wanda and Vision is real, and we are supposed to be hoping against reason that somehow they can emerge from all this together again. The first few episodes were in part focused on establishing that relationship in order to support the later dramatic tension, and…

I’ll reluctantly nominate HBO Max. I don’t love the price or the relative scarcity of higher-format content, but it just has so much content I really want to have.

I’ll reluctantly nominate HBO Max. I don’t love the price or the relative scarcity of higher-format content, but it…

So the commercial immediately follows the scene of Vision seeing the crying woman stuck struggling to complete hanging her Halloween decorations, which is quite similar physically to the kid in the commercial stuck struggling to open the yogurt container.

Wouldn’t a ripoff of The Avatar actually require the main character to be some sort of Avatar analog?

This Kong can throw things with great accuracy and power.

So Tolkien himself wrote (in Letters, #184), “In my story Sauron represents as near an approach to the wholly evil will as is possible.” That’s a careful statement, because he explains in that Letter: “In my story I do not deal in Absolute Evil. I do not think there is such a thing, since that is Zero. I do not think…

A younger me would have said one of the exciting epic movies like Laputa, Nausicaa, or Mononoke.

I was actually pretty disappointed in how the finale rushed through convenient resolutions of various issues. I was particularly disappointed in how they addressed her denial of her alcoholism, which to me had been the dark backbone that kept me engaged despite an often pretty far-fetched action-thriller overlay.

I watched the whole thing, and while it had some moments (a few actors/side characters in particular), it was often difficult to watch, and not just because of the pandemic. Some pointlessly graphic torture, main characters being inexplicably unobservant, production values that often seemed subpar for a modern…

It’s a moisture trap!

So they want to Make Animation Great Again?

So . . . El Gigante de Hierro?

I thought this series started off TERRIBLE—not funny, not interesting, everyone was unlikeable and unrealistic, just a slog. But by the end I was hoping for a second season, and a lot of why was the fleshing out of secondary characters that I started to enjoy watching and care about.

I note Weird Al voices the title character, and supplies some of the songs, for Milo Murphy’s Law, which is very much a Sci-Fi show (time travel and aliens both being prominent elements).

Hot.

I watched the whole season. I’d say it picked up a bit from the first few episodes, mostly thanks to some relatively interesting side characters and plots. But it always kept that juvenile-but-with-horrific-violence vibe, and what felt like a relatively small, thin universe (I’m not sure it being a variation on…

Whoa.

Hmm, I wasn’t even tempted to see her powers as a metaphor for her sexuality.