There is a Sexy Grogu available as well.

I could not stop laughing at Pedro’s delivery of, “Is that a bench? How long will I be waiting?”  He is doing so much to make Djarin a viable character despite the helmet.

That’s quite fair. I once heard someone else derisively call it a travelogue. So I would never try to suggest that people who didn’t like it for your reasons were missing something.

“The lengthy info-dumps. The endless exposition. Talking down to the reader. Chasing word counts. Poor character development. Multi-book anthologies. Look-how-smart-I-am technofetishism. Concept over narrative. Passive fucking voice (because that’s how scientists write and therefore it must be the best way to write).”

Season 2 gets off to a bang when it turns out she is somehow the illegitimate child of both Fez AND Jackie.

I don’t care ‘bout that. I don’t care ‘bout that.

Just as long as it is clear our hero can run just fast enough to escape the Moon as it is coming for him . . . .

Die Cheesier.

At this point, I am willing to just say flat out that TV is a better format for interesting world-building-type scifi or fantasy than movies. Even a long feature-length movie is just not enough time, and the typical pacing of sequels is just not quick enough. The LOTR was still a success, of course, but I think that…

I could not agree with both of you more. Losing an implied realistic point of view is a big problem for me. Of course every once in a while, directors would do unusual shots. But typically they had a lot of thought behind why that particular shot made sense. Now it feels very overdone to me in many action movies, and…

I think Fargo just used him correctly. If you play him as a completely conventional leading man, it will likely be pretty unsatisfactory. But if you actually give him some unusual below-the-surface stuff to do, then it can be interesting. So in Fargo, you have things like Lou struggling to handle the homicide…

I liked Seveneves all the way through. I also agree the stories before the time jump were perhaps a bit more fresh/interesting. But I suppose I was just interested enough in the question of what a rebuilt society would look like that I was happy to spend some time in that period.

Yeah, Westerns indulged in this mysterious stranger who turns out to be “super fuckin’ badass in every possible way” protagonist a lot. And as I recall, Lee Childs specifically referred to those as one of his inspirations, although he also pointed out the type is very common, including knights-errant, ronin, and so on.

I would not describe it as the MOST progressive cop show ever, but ultimately Bosch did get into police corruption, police brutality, and some other stuff like that. In fact it also showed consequences for the “good” cops when they did improper things they thought were for good reasons.

So I completely agree this show is not going to satisfy my desire that the consequences of Russell’s business practices for ordinary people be laid bare. But for the record, “robber baron” monopolists like Russell’s character were in fact particularly bad. Not that other wealthy elites at the time were innocents. But…

Definitely a slow burn so far, but Peggy’s wanting to consult with an attorney, her pursuing a professional writing career, her strained relationship with her family, all suggest to me that the show has a lot of long-term plans for the character.

Have you ever ordered a ludicrously extravagant dessert at a fancy restaurant, despite knowing it is unhealthy, and might not even taste as good in the end as something more simple but common like a nice cup of gelato?

It is all ridiculous, but there has long been a strain of American families a couple generations in looking down on relative newcomers. That was the basic sentiment of the anti-immigrant Native American Party (aka Know Nothings) of the early 19th Century (and yes, the ironies abound, and still do). And that was the…

Interesting. Although no longer an official Downton prequel, that could at least echo the background story of the Crawley family being on the verge of financial ruin before Robert Crawley married American Cora Levinson for her money. Oscar van Rhijn would then be trying to be the Robert to Gladys Russell’s Cora.

The only thing I will suggest, as I did in another post, is that MAYBE this portrayal of the elites is a little more satirical and a little less straightforwardly sympathetic as compared to Downton Abbey.