His artwork has always been just holy Jesus bad.

Now, I have to think about why the ACLU would ghost write someone’s supposedly personal essay about domestic violence. This looks bad for both Heard AND the ACLU.

Couldn’t finish “Resurrections”. Bad action, bad story and some of the shots looked like they were from the 90's. Bummer.

It took them almost 15 years to actually get to a movie generally considered to be an outright failure (“Eternals”).

This image is taken from a comic panel drawn by Esad Ribíc for Thor #3 in 2012 (see original here). This was the God Butcher arc, so the movie’s sticking to that, at least, but who knows if Ribíc was credited or even paid for this. Considering Marvel’s track record when it comes to acknowledging the contributions of…

The placebo effect is one hell of a drug.

Latenna the archer, effectively a stationary turret, can be really good situationally (like when you can put her somewhere the boss can’t reach).

The first Thor is fine but reveals the damaging extent of early MCU thriftiness. It opens in Asgard, which looks fantastic (and fully anticipates the 1980 Flash Gordon aesthetic of the Waititi movies). But by the end of the movie, Thor is fighting the bad guys in a 7-Eleven parking lot.

Take a second and reflect: How wild is it that there’s a movie in theaters right now whose basic premise is “Jude Law and Mads Mikkelson are exes waging a clandestine magical war to work out the baggage of their relationship,” and yet somehow, no one actually seems to give a shit?

Conversely, do Marvel trailers still need movies? The main entertainment value seems to be in gleaning new information and discussing Easter Eggs (he said with a sense of seasonal obligation). This series has evolved into a lifestyle brand that has a vestigial relationship with cinema because that’s how it’s…

If the report is true, this is such a bizarre time to start being messing around with the DCEU now as it is starting to hit a stride. Especially since those successes are built on allowing the movies have those distinct styles and to build their own worlds.

Ok so here’s what I don’t get...if these creators are making new characters for Marvel Comics, how are they not making contractual agreements that any use of that character outside of comics i.e. movies, tv or video games, they get paid for that? It seems like that would make sense right?

Predictably, fans all over the internet are climbing over each other to say that Marvel does not owe Joe Casey anything. After all, he signed a work-for-hire contract. So now, without a thought for the gap between law and decency, they just want him to stop complaining.

You’re not wrong.

I loved the comics. The show has been okay. But it’s cool that the show runners are choosing to validate a performer who has given the show its best moments instead of asking for some kind of legacy drag for the sake of continuity.

Anyone involved in the Oscars could have watched the melodrama at the Hugo Awards (even though it ultimately had relatively little impact) and predicted that a popular category, judged on Twitter, would have a big problem with vote brigading.

Dune for best score? Ugh. Do the judges see Zimmer’s name and just go into autopilot?

It feels like two things are obvious:

Oh i think their gripes are 100% about the division their era had between “Moovies” and “Cinema”.

Like how we got Wild Bunch and Unforgiven that in terms of quality are miles beyond most anything western featuring John Wayne or stuff like Bonanza.