I doubt the BBC is ever going to have Netflix/HBO money to splash around, but you’re right that this isn’t the kind of production that was ever going to work on the proverbial whiff of an oily rag. I’m also encouraged that they pushed out the planned air date from 2017 because (according to writer Jack Thorne) they…

Sorry for being that guy, but as I understand it HBO is just picking up distribution outside the UK and not involved in the production itself.  That said, I’m sure the BBC will the bringing the usual level of top-shelf production value (and, yes, judicious use of the FX budget) it does to this kind of project.

Fair point — but I can feel a lot of sympathy for Zhang Yimou who, a couple of times, politely noted the irony of getting scolded by American critics for casting Matt Damon in one of his movies when it was increasingly difficult to get any kind of distribution in the United States for his non-wuxia films.  Damned if…

That’s a really interesting (and complex question), and really broadly foreign-language films in general have faced increasingly tough roads to getting any kind of broad distribution into English language markets. (I saw The Wandering Earth because I live in a city with large Chinese, Indian and Korean communities so…

Jesus. could you possibly be more condescending? Yes, China like dozens of other countries have domestic commercial film industries that are designed to appeals to local commercial tatses. And, no, they’re not all deathless works of high cinematic art but they’re not intended to be.

The Turn of the Screw? Really?

Oh, I’d say it isn’t possible but a damn near 100% probability that Doctor Strange is going to mystically finger-tutt a reset button out of the cosmic ether.

It was a stupid idea, and it failed to work in every utterly predictable way. With the kind of lead time and paranoid secrecy that shrouded the movies, who really thought AoS was ever going to have the production get any meaningful acccess to the actors or stories?

Indeed - I was bemused (and more than a little grossed out) at how bent way too many people got about The Hunger Games movies when Katniss doesn’t magically shake off PTSD in the wake of a horrifying barrage of abuse and trauma. In life, as in art, a lot more often than not just hauling your arse off the floor when…

Fair counter-argument, but it’s not as if Bob Iger has announced a slate of porn parodies of the live action re-makes of their beloved animation back catalogue. Though I probably shouldn’t be giving anyone any ideas.

So far, this R-rated franchise has grossed around $1.6 billion on a production budget slightly south of $160 million.  Did anyone seriously think Disney would fuck with a ROI like that? 

Oh, bless... another white man telling women and PoC to STFU and focus on the “real issues” they consider important. Again.

Seriously, I wouldn’t bother waiting.  I’m a huge fan of James’ work, but he’s never been the kind of writer where you’re ever going to pick up everything he lays down on the first pass.

Oh, that’s a more than fair point. The Walking Dead is an expensive piece of real estate - even when you factor in Georgia’s extremely generous tax and production credits - because the show does a lot of location work with a large ensemble cast. Long-running shows don’t get cheaper as they get older unless you start…

There are shows with much lower ratings that shamble on because they’re earning their ride in other places — ‘foreign’ sales, streaming rights, home media etc,. Hell, the Dynasty reboot has been renewed by the CW for a third season despite dismal ratings. Thing is CBS owns 100% of the IP and Netflix slapped down a lot…

If you want “levity” perhaps you should be taking a hard pass on a show whose entire premise is the life of a woman in a fascist theocracy where she is ritually raped, forced to bear her rapist’s children, and doomed to do it over and over until she can’t and gets shipped off to a slave camp on top of a toxic waste…

Sarek: Most revered diplomat in Federation history.

So, no big deal. Just an outstanding mix of Oscar winners, genre legends, comedy icons, superheroes, and more.

I’m still not going to go that far, but The Orville has certainly improved its dialed way back on recycling skeevy gags that didn’t pass muster in the Family Guy writer’s room.

Indeed - and don’t forget Dynasty is IP CBS already owned and they’d licensed the show internationally to Netflix before production even started. I suspect keeping this show on the roster is going to remain an attractive prospect as long as Netflix keeps spraying around money like a drunk horny sailor during Fleet…