Probably an unpopular opinion, but I’d watch another Ewoks tv-movie (for Disney +, for instance) where Cindel is now her grown-up reporter self, and she goes back to Endor with her family, to check on Wicket. And their kids have a fantasy-type adventure on their own. Bring back Teek, too, while you’re at it.

Man, if the leaks end up being confirmed, the fanbase is gonna have a meltdown of Last Jedi proportions, if not worse.

Eh. I like Hoechlin, and Tulloch is fine, but this version of Superman has been so nerfed by the writers in order to prop Supergirl up as the bestest, strongest, bravest, smartest Kryptonian of them all that they’ll have a lot of work to do to make me care about SuperHoechlin’s heroics.

Yeah, my guess is, right now, the priority for Marvel & Disney is Disney +, the Wandavision tv show and its early launch, which probably led to some last minute scheduling issues for Strange.

Usually, HM Christmas movies get around 2 or 3 million viewers when they first air. So in fact, slightly more than the population of Nebraska (not including the dozens of reruns each movie gets during the months of Nov & Dec). ^^

True. However, all cooking shows on tv are not produced & supervised by the same team, and trying to coordinate every now and then for a big annual crossover. There’s such a thing as spreading too thin, and Berlanti’s DC shows always seem to dip in quality once a new show is announced and starts airing.

Fun trailer, but the fact that they’re hiding Cheetah (supposedly a big part of the movie), not even hinting at Wiig’s transformation, doesn’t really fill me with confidence.

Agreed. And let’s not forget, that although he created the show, Slater only wrote on 3 episodes of The Exorcist... and wrote Fant4stic, The Lazarus Effect, the so-so thriller Pet, and the Death Note Netflix movie. Hardly something to be enthusiastic about.

I’m not even sure I’d call this “technically beautiful” : the sfx are very uneven, esp. with the Diego Luna terminator bouncing all over the place like a bad weightless cgi double from 15 years ago.

Eh, honestly, given the heavy focus of NWA Powerrr on promos (which have been great) instead of work-rate or matches (which have been pretty forgettable), I’m not sure there would be much to review there. The wacky commercials, maybe.

Then again, let’s not pretend the TTG writers spontaneously started taking digs at TT or at the fans, just for the fun of it : by the time an episode like “Let’s get serious” aired, for instance, the writers already had two seasons under their belts, two seasons where they’d been at the center of a constant,…

Okay, Disney. Since your Disney+ doesn’t come to Europe until mid 2020, you’ve got a few months to add The 100 Lives of Black Jack Savage. I’m waiting.

“I literally described to Joaquin at one point in those three months as like, ‘Look at this as a way to sneak a real movie in the studio system under the guise of a comic book film’. It wasn’t, ‘We want to glorify this behavior.’ It was literally like ‘Let’s make a real movie with a real budget and we’ll call it…

Worst thing is (spoilers for the movie, but who cares, really) : it’s the only demonic creature for 99.9% of the movie, one at a time on screen, as a man in a suit with CGI touch ups.

No Rosenbaum & Hartley, no deal.

I’d have been fine with Olivia Wilde as Gamora, as initially intended before she turned down the part. Seyfried... not sure it would have worked.

Theron’s Morticia... nope. Nope nope nope.

C’mon, Feige, don’t let those great sfx go to waste : a 6-ep Disney+ Hulk show - a young prodigy called Amadeus Cho tries to help Banner cure his arm through some revolutionary technobabble ; Banner is distracted by a legal threat : Samuel Sterns sues him for what happened during The Incredible Hulk, and Banner has to…

Not really, though. “Ajusted for inflation” records are just as worthless as the unajusted ones, for numerous reasons - tickets prices, exchange rates, multiple re-releases, state of the industry, release schedules, worldwide inflation rate(s), gimmicks, entertainment landscape, and so on.

The constant need, for the media, to qualify Endgame’s all-time box-office spot with a “not adjusted for inflation”, as if to say “it doesn’t really count”, is kind of weird to me.