Totally upends? When you boil it down, doesn’t the volume work almost exactly like a traditional set? You have to build it in advance, and then you can put your actors in it. If you want to change where the scene takes place, you need to build a new set.

I believe they’re fully written through to 5. What he’s saying is they shot part of 4 at the same time as 2 and 3 — something to do with getting the actors at the right age (presumably Spider, the human kid, being the main concern).

Will Smith?

The Last of Us is a videogame. If was adapted as-is, it would be filled with samey combat encounters (not to the extent of the gunplay in Uncharted for example, but it would still be a big problem). At absolute minimum, there would have to be some cutting, merging, and/or inventing new situations that have a bit more…

The Witcher is a slightly different case because the source material is prose. People haven’t seen how the story plays out, only read it.

I was gonna say. I just finished the main game, and the animation for walking on snow really stood out — the surface has just the right amount of resistance as Jin plants his foot before it sinks through. For a game that’s great, but often lacking in that sort of attention to detail*, it was a really nice touch.

The same way that a lot of the best superhero movies are considered faithful to the comics they’re drawn from, despite changing tons of things in the process. It’s not about having all the details match up, it’s about getting to the core of the material and taking advantage of the new medium’s strengths. Why would a…

But the vast majority of sales for those games (and, indeed, most games) would be in the first year, and probably just in the first few months of release. Jedi: Fallen Order did not just come out — it’s over three years old.

Imagine a version of the movie where it’s some random scientist who invented the vibranium detector — someone not drawn from the comics, and therefore with no assumption that they will return. Would you expect that sort of minor supporting character to have an arc?

It’s not quite that simple. There will be hundreds of millions spent on marketing on top of the budget, plus theatres take about half the box office. So, if we say $460m (production) and $200m (marketing) and multiply the total by two, that gives an approximate break even point of just over $1.3b.

The film itself didn’t bother, I don’t think anyone else should either.

Netflix is the answer. It’s completely bonkers, but they apparently paid $469m for the rights to two new Benoit Blanc mysteries, of which Glass Onion is the first.

Harrison Ford (in his TV debut)

Doesn’t that definition eliminate an awful lot of JRPGs in particular?

It was a throwaway line, so I’m not getting upset about it or anything, but to me, it stuck out like a sore thumb as one of the only times Andor has directly referenced a pre-existing element of the universe when it didn’t need to. It’s not like Canto Bight is the only place where gambling is possible.

I kind of see it the other way. When all is said and done, Rogue One will basically act as Andor’s series finale, so the post-credit scene is really just putting Chekhov’s Death Star in place for that.

Has anyone ever guaranteed box office? Tom Cruise has had flops. Will Smith (pre-slap) has had flops. The Rock has had flops. Tom Hanks has had flops. Harrison Ford has had flops.

His schtick is so incredibly limited, and honestly, I’m not sure it was even that good in the first place — he just hit at the right time for it.

Phase Four should have reminded the audience where the existing characters stand, introduced new characters, and ended with a clear sense of their common goals. But Phase Four didn’t do that.

He means that it’s critical of those things.