It wasn't lacklustre at all.

Very happy Disco Elysium took home that win, those Estonians did alright.

But I think that’s kind of the point, right? Crudup Manhattan tries, but doesn’t really care. Yahya Manhattan cares, but is so trapped by his abilities.

Basically everything you could possibly want from a Doctor Manhattan episode and an HBO Watchmen episode. It’s brilliantly written, stunningly shot, beautifully scored, and all sorts of other meaningless adjectives.

If you removed every gangster film from Scorsese’s filmography, then he would still be one of the most important living directors on the planet. I enjoy superhero films, and quibbles about the term “cinema” aside, Scorsese has a point.

After Hours is a comedy. The King of Comedy is a comedy. The Wolf of Wall Street is largely a comedy—at least as much as something the MCU bills as one of the funnier ones, like Ant-Man or whatever.

Yeah, maybe the guy who made Goodfellas, The Age of Innocence, Silence, The Wolf of Wall Street, The Last Temptation of Christ, After Hours, Raging Bull, and Hugo needs work on his range.

“A dump?  I already took one 35 minutes ago.”

That’s the “American Hero Story” show-within-the-show, though, and the episode goes out of its way to demonstrate that it gets a lot of stuff wrong. It’s even interrupted by Laurie calling it garbage.

I do agree, tho, that Ozzy recording a video explaining in detail what he did to the future president of the nation is wildly out of character with the figure we saw in the comics. But I’m willing to give the writers the benefit of the doubt on the 7th Kavalry- we don’t know if the entire group is a part of whatever…

One thing to note about R’s journal: it doesn’t actually spill the details on the squid-bomb. Rorscharch doesn’t learn the true extent/specifics of Adrian’s plan until he and Dan go to Antarctica. The journal lays out his suspicions that Adrian is at the head of some kind of conspiracy and most likely killed The…

God, just re-read this part in the comic. Stirring stuff, and I think a lot of Rorschach’s internal monologue applies to Reeves:

“Stood in firelight, sweltering. Bloodstain on chest like map of violent new continent. Felt cleansed. Felt dark planet turn under my feet and knew what cats know that makes them scream like…

The scene when Reeves burns the film warehouse has a few links to a similarly formative experience for Rorschach, in which R kills the dogs and leaves the pedophile/murderer to die in a burning house, the scene of his heinous crimes.
1. The first time Reeves actually killed someone while fighting crime.
2. The burning…

The price is set at a point that maximises the total amount of money the population pays to watch films. Disney ALSO want to maximise the amount paid to watch films. If lowering prices to get more customers were a profitable strategy, cinemas would be doing it already.

Though the ending was hoary, I thought they played it off well. It’s a lot of characters to nod to over the three seasons, but it was alright in my book.

It’s sort of reflective of how they treated her while she was alive. In that ending sequence, nobody looks more haunted than she does. Pretty damning stuff.

Maybe that was intentional.

Loved the subtle reference to the wire. Black Frankie going off to Baltimore to help his cousin Nathan in the Lexington terrace projects. Nathan barksdale was the real person that Avon was supposedly based on.

Honestly, weeks ago I figured the ending of this series would likely borrow from Scorsese’s CASINO, and his lament that Vegas lost its glamour to tour buses of (ahem) sweat suit wearing mid-westerners, carnival, gimmick and an utter disregard of a class that once defined Las Vegas, or at least the Las Vegas…