You probably will find that — this would be somewhere round a third to fifth place best opening for the entire year, by the standards of the last few years.

It’s an odd combination of financially successful first film and “well, obviously we’re retooling it.”

But you didn’t see Nicholas Cage in that.

I’d guess they wanted somewhere which would let the characters trash the set without collateral damage being too big an issue. Though that doesn’t explain the specific choice of location.

And there’s the very early Warner Brothers character Bosco, a Mickey ripoff who straight-up was a minstrel character.

Yes, that was a part of the Claremont X-Men phase that the article doesn’t mention (and led to the bit with her getting a new set of powers, which it does).

That’s pretty much The Deuce.

They did put out Carpool Karaoke and Planet of the Apps a couple years back (the latter sounds like about the most navel-gazing choice possible), but none of the other stuff is out yet.

Samuel L. Jackson, fanfic writer.

Netflix’s score is an attempt to say how good a match the show is to the other things you’ve watched on Netflix. Since you may not have watched things over your full range of interests on Netflix, and people’s tastes are complicated anyway, it’s not a perfect indicator.

as long as there’s a teenager operating a giant war machine.

It’s all downhill from asking “Shall we go to a Chinese, Mexican or Middle Eastern place?”

while Apocalypse is a classic X-Men villain, he actually doesn’t really have an iconic story aside from Age of Apocalypse.

He was never attached to direct. Probably had more to do with Apocalypse being underwhelming at the box office and critically (and, more subjectively, seeming like the work of someone a bit fed up) than the other reasons why he might be removed from a film.

I’m going to take a middling position and say that the big issue is that there isn’t much audience investment in this Jean Grey going into the film, which would be a big help in making a fall from grace compelling.

As described, this latest case sounds pretty deliberate.

Doesn’t help that he lives on Would That It Were So Simple Avenue.

In line with what you’re saying, Star Trek was still three years in Shatner’s future at that point.

One reason it keeps coming up, I think, is that xenophobia is closely bound up with the effectiveness of his horror, and that makes the process of extracting the good from his work and leaving the bad tricky. (Plus, he comes off as more racist than a simple product-of-his-time defense can entirely explain.)

Also, it sounds more like Paltrow was referring to how the film stands up outside of Weinstein’s publicity campaign for it, rather than whether the allegations against him taint the film. (It’s ambiguous since the article’s talking about both these things at this point.) Which makes the publicist’s response look like…