Honestly had it not been for the many issues he had, I think he would have likely eclipsed the post-Friend’s career of Aniston. Hell, even when it was clear he couldn’t maintain a steady film career, he had several big swings in television.

Remember when he was just randomly a part of the West Wing?

Oh no! Did Lego tell them to hit the bricks?

I think that it does have a “kids these days” vibe to it. I think, had he simply said that he doesn’t like the studio oversight of super hero movies, or something more to that effect, we’d all be agreeing with him. 

Sorry, I know NYT can be finicky sometimes, I was able to read it for one moment and now I can’t.

He does address a lot of the points that you raise, but his main concern is that a lot of modern films don’t take on any risks, he really, REALLY doesn’t like the mass marketing approach to film that Disney champions.

It’s…

Scorsese clarified what he meant like three years ago.

I’m not exactly sure who was dismissing their work as art, many of Scorsese’s movies and the actors and crew that worked them have been nominated for and received awards for their craft.

Also, if an example for this argument is say, “Taxi Driver” versus, I dunno, “Thor 2"?... 

Three years ago.

Guys, just accept that he watches movies and “absorbs” content in a different way. He’s most likely just very bored by Marvel films and doesn’t find them entertaining. 

Well, given that his Marvel criticism came out before this film, I’d say you’re kind of right?

He explained it in further detail. While his definition may be more internalized, I don’t 100% disagree with him.

Did Ryan Murphy have him killed?

“Elon is a billionaire and is literally buying social media platforms so people have to do what he says! Stop bullying him!”

Idiot. 

It’s not that I outright hate it, it’s just that I can’t imagine that anyone, including the people who made it, cares about it.

It’s a trend that’s happening in film too. We’re telling more stories about survivors, rather than saviors.

As others have pointed out, games are also fairly homogenized. There are some clever exceptions of course, but the “larger” games seem to suffer from this.

SNL is very much a show born out of comedians and cocaine. There’s no other reason for that writing schedule. 

I don’t know if Michaels is outright malicious, but he at least comes across as a father figure that everyone wants the approval of.

Donald Glover has a story about working with Tina Fey. They would be writing for 30 Rock, and then all the writers would go to her house so she could put the kids to bed, and they could keep writing.

And I keep thinking, “No, don’t admire that, that sucks.”

I’m under the impression that it’s gotten “slightly” (emphasis on slightly) better to be there, just based on how large the cast has ballooned. But hearing stories from Bill Hader, it sounds like an incredibly stressful environment, and I’d liken it more to being a struggling pro athlete than a regular television…

I think we’re seeing a person who has done well producing creative work and developing relationships with other directors, versus a corporation that is looking to cut out everything to appease shareholders.

It’s going to be an interesting few years.

Personally I like it. I don’t know what my metrics are for a “good” podcast, but it’s apparent that the cast (Strong, Fiscell and Friedel) are pretty good freinds. It’s also nice to hear about a show that the casts is so far removed from.

Sometimes the guests are duds, but other times they’re really sweet or not afraid…

Have you given Pod Meets World a listen by chance? 

Honestly if the DCU has gotten anything from DC comics right, it’s that Crisis level of reboot.

Which is what we all love about DC comics, right guys? Remember when Superboy punched the universe?

Guys?