I mean, personally I still don’t love it, but there’s a huge difference between an always online service sold on streaming games to you, and an always online requirement when you’re attempting to run pre-installed software on an expensive piece of hardware that’s sat in your home.

A better episode would force us to ask that question. This one just handwaves it and assumes we’re on board. Be Right Back is not quite the same thing, but it’s a more interesting take on that sort of material in my opinion.

Well, no. Maybe I wasn’t clear. I meant there’s an interesting story in exploring the line where justifiable revenge becomes toxic (something along the lines of Breaking Bad maybe). Even if you think this worked, it’s not doing that. There’s no progression — he’d already crossed that line before he entered the story…

I mean, I guess, but like I said, I’m not absolving him of all his actions. And they didn’t know he was treating them like shit — they were completely unaware of and unaffected by what happened to videogame recreations of them. Whereas he really was treated like shit (albeit not to the same extent) by everyone else,…

That was my take on USS Callister too. It presents you with a socially awkward introvert, who’s bullied by his business partner and gets blatant disrespect from his subordinates, and then demonises him for finding comfort in a videogame where he can turn the tables. He’s far from completely innocent of course, but when…

“Photo-realistic”?

Well... I don’t think this version will be very good, but you don’t need all that.

In retrospect, Loeb’s great contribution to The Long Halloween (and Dark Victory) was giving Tim Sale plenty of room to draw some pretty pictures. And even that wasn’t enough to make their later collaborations worthwhile.

Agreed. The 90s Gamera trilogy is absolutely brilliant, particularly the second and third ones. It honestly deserves its own entry on the list, so not even getting a mention in the existing Gamera entry is a travesty.

I think you’ll stay desperate, I’m afraid. Nothing from Planetary was ever going to make its way into The Wild Storm or any of its spinoffs.

Is it wrong though? The argument was generally presented so confrontationally that it came off as racist (and I don’t doubt that there were plenty of racists making it), but what it seemed to boil down to was that the game was set in a very specific time and place far away from where you might expect to have found…

I think at 20, I probably wouldn’t’ve involved a lawyer, no, but then I was never signing up to a professional (e)sporting contract that locked me in for up to 3.5 years or anything remotely comparable. I would’ve had the wherewithal to glance through such a contract and question why the other party was sometimes…

Nobody is denying that it’s wrong to exploit someone

Jon would’ve had nothing to do for ~7 seasons. He’d never learn his parentage either.

And Star Trek Into Darkness is 84% fresh (amazingly, it’s 89% on the audience side), yet I think you’d struggle to find too many people who remember it fondly*.

Or not. Currently, at least. She was the head writer on the first season of Killing Eve, but stepped down prior to season 2. I honestly feel like the show has been a pale imitation of itself without her (not without merit, but not close to the same level either), but then that I also thought the first season’s ending…

“if you can’t see the last two seasons are rushed as fuck compared to 1-6 when they had the books to adopt”

Abe’s Exodus and Stranger’s Wrath were definitely bonus games, but I’m pretty sure Munch’s Oddysee was the second part of the quintology.

Well, here’s the clip, she apparently appealed it herself and breaks it down in some detail:

When Wilson talked about this on The Graham Norton Show in the UK. Anchorman was the main example she used. Among other things, she’d counted up all the penis jokes that film was able to get away with at PG-13 and compared it to the fewer vagina jokes in this that still tipped it into R.