Voyager had three characters in the Spock/Data role of looking at human emotion from the outside: Tuvok, the Doctor and Seven. Not exactly from the same angle, but still close enough to get in each others’ way.

“Yes, let’s beam up.”

Except the adults in Charlie Brown cartoons, who start talking normally.

To be fair, this specific character might sound like that because he does a lot of coke.

I thought the Roosevelts one was very good. Seems a bit odd to praise the use of a straightforwardly linear timeline, but when applied to three people over two generations, it produces a nice interweaving effect.

I’d say Boardwalk Empire and Vinyl share the problem of making a poor choice of central character despite an interesting setting. Boardwalk gets away with it more because it’s a less pronounced fault in an overall stronger show, though.

The case in a later game involving a village with Yokai-themed tourism seems almost like it was designed to troll the localisation staff. Then there’s the case about Rakugo....

Behold the damned, hollow-eyed robots

A good piece of conceptual art and a poor bit of TV viewing.

I think a lot of the conversation around Nolan’s films is coloured by his fanbase.

Yeah, but he was *supposed* to be studying both.

To break from the joke format....

The black costumes belong to a moment in trying to make superheroes low-key enough to be treated with seriousness in film, to be fair. We’ve had a couple of decades more acclimatization to putting the crazier aspects of the genre on film now.

Has an author several times more problematic than Frank Miller, though.

Seems like it’s become a necessary signifier that a cartoon isn’t for children.

Part of the problem is that trans actors are already typecast, so when even the roles they’ve been pigeon-holed into get taken, there’s nothing left.

Her essay came shortly after she accidentally pasted a couple of lines of argument on the subject into a tweet that was meant to be an appreciation of a kid’s picture, which in fairness did get people asking and caring what on earth that was about.

“They’re not building roads, they’re building walls.”

The magazine publication for the contents of the first three books was 1942-1950, which puts it even further back in the pulpy era.

And that’s just the X-Men in comics, never mind the films.