That’s incorrect. The current residual schemes for streaming are based on how many subscribers the service has, not how many of those subscribers are watching the show in question.

Disingenuous to imply that this invalidates Kripke stating as a fact that $0 in residuals have come to him from Netflix

Netflix hasn’t paid out for streaming the mid-aughts megahit

why did they release it one week before the Mario juggernaught?

The mistake was not just letting the separate subfranchises carry on and be their own things, without worrying too much about the shared universe aspects. I mean, they had Wonder Woman, Aquaman, Shazam!, The Batman, Joker, The Suicide Squad/Peacemaker, all of which were at one point successful and/or well-liked.

I suspect it’s a simple as having stuck “Part One” right there in the title. Despite reaching a much more satisfying pause point than most two-part films, it made the mistake of admitting what it was up front and that was enough to put off significant chunks of the general audience.

I was already let down when he couldn’t figure out how to end District 9 without cheating the faux documentary format throughout the climax. And then Elysium doubled down on his “I’ve got some good ideas but can’t figure out how to see them through” thing, and I’ve never quite been able to work up the enthusiasm to…

Based on the trailer, I suspect what he’s actually trying to say is that “this film’s vision of the future is closer to Neill Blomkamp than Joseph Kosinski”, but he’s waffling on about some imagined “tech war” because he thinks admitting that would make it sound derivative.

So it was like, imagine the Apple Mac hadn’t won the tech war, and the Sony Walkman had.

But doling it out piecemeal as exposition is not particularly great storytelling, and it could’ve been covered more effectively in a short prologue.

Ahsoka is not The Wire though. It’s not even Andor. It’s not sophisticated storytelling that expects the audience to keep up. Ahsoka is more like “what if Obi-Wan, but we hide the first episode for three-quarters of the audience”.

The interim agreement is basically accepting all of SAG-AFTRA’s demands, therefore demonstrating that it’s entirely affordable for studios to do that too. The more movies that get made (and are successful) under those terms, the more ridiculous it looks that AMPTP are refusing to sign up to them.

I would argue that the difference is that the backstory in A New Hope is much broader and less specific — characters are introduced as if you don’t know them (in part because it’s the first time anyone’s being introduced to them).

Oh, that makes much more sense. Bringing him up in the first place was such a non-sequitur that it didn’t occur to me that you were talking about him (plus Kinja doesn’t let you know which comment is being replied to if you’ve made more than one in a thread).

Not sure that I agree, I found Batman V Superman to be a real drag too, albeit nothing like as bad.

What does Abrams have to do with anything?

Given the circumstances, and the fact that he gave Steppenwolf a visual overhaul anyway, it’s mindboggling to me that he didn’t make that switch, and instead chose to add even more sequel bait...

My favourite part was when Darkseid came to Earth with a space armada, found his life’s goal here, but got his ass handed to him and retreated... and then simply forgot where Earth was for the next few millennia.

It is a better movie than Whedon’s version, but it’s shockingly inefficient. Every scene goes on way too long, often just because he didn’t even tighten up the gaps between characters speaking, so there are weird pregnant pauses between lines of dialogue all the time. And that’s before you get to shit like (all taken…

Netflix insisted that shorter films do better on their service, which is why it got split in two. The initial release is apparently a pair of ~2 hour films and the really self-indulgent version will be ~5 hours.