That's a real shame. I imagine if Beasts of No Nation had been better promoted and gotten some awards attention, he would have been able to do more of what he wanted. "From the director of True Detective" would get a lot of people in seats.

He does seem to favor the cruddy Mick Garris ones, but Garris almost always uses a King written screenplay, so of course he's going to be partial to those.

That got me too. That moment could easily be silly if done wrong. King has a lot of things that work in print but filmmakers have a hard time making them scary on screen. But that. That worked.

That was the initial plan, not sure if that means they're in production with it or not.

I think his heart was truly not in it following John Candy's death and interviews with his friends/family attest to this. As a former copywriter, I think he started to look at his work exclusively as a product and not "art" (assuming he actually did with his '80s directorial efforts).

One of my favorite things to look back on is how much the AICN geek crowd hated James Gunn for those movies and wanted him dead when it was announced he was writing Dawn of the Dead. I'm assuming they're probably fans of his now.

Maybe I'm too hard on him, and I'm sure at least part of it is the show's fault for not giving him enough to work with.

They definitely did. I would've rather they kept her and lose Ed Weeks, but that's just me.

His girlfriend is also kind of a heavy hitter producer. If Messina were some low rung, fresh off the bus actor who had zero power it might be slightly more believable.

This is kind of a common gossip trope. I recall this being the gossip when Jamie Walters left 90210 (and talk about character assassination, his character became abusive to Tori Spelling's).

I think with season one Kaling was trying to make a show that wasn't *just* a workplace comedy, since she'd just spent years on one. Instead, it would be a character who had friends outside of work, and then also had to deal with her co-workers. I think she realized there's a reason why that's rarely worked in a…

Back in his younger, thinner days like in Caddyshack and Vacation ("we like to send out a mailer"), the resemblance is fairly evident.

I know, so sad about Pullman

I really enjoyed watching it when I was in high school. It seemed like a bunch of people who would normally NEVER make a sitcom got together to make a multi camera sitcom. Which is what Fox is (or was?) best at.

I always mock people who confuse Bill Paxton/Pullman, but this one gets me every time.

This is very true. There was no "normal" cop guy like Marty to balance it out.

It's not just the actual shots and scene direction. I recall reading the script for the pilot and, honestly, it is not as good as the final product. I credit a lot of those changes (minor, but important) to Fukunaga. Apparently he and Pizzolatto had a lot of disagreements, and I think that was necessary for making the…

That was terrible, but that struck me as an example of a guy who is primarily a novelist writing something that *might* work in print and not giving any thought to how poorly it would play on screen.

I wouldn't mind him being a character, as long as he's not the main character. I wouldn't mind them setting it in the Deep South again, as Pizzolatto seemed to have a lot to say about his home state in particular. I felt he was struggling a bit to say something new about Southern California in season 2 and it didn't…

Eh, there's a reason cop/detective shows/movies/novels/etc. have endured on screen and in print. Not unlike the western, it's a loose framework on which the author can hang basically anything they want. I think the sky is the limit with the genre, but most network TV shows and bestselling paperback book authors are…