Apparently mattresses work like this too; the model at any given store is often unique to that store, so “price matching”, if advertised, will never happen.

It’s got to be a bad sign that last week’s comments contained more than one along the lines of “Is Joe dead?  Did that happen?  I don’t think that happened, but I don’t remember for sure.”

I have only seen this once, and decades ago, so I’m sure I’d see it differently now somehow, but my summary at the time was “You should be a unique free spirit, just like me.  And if you’re not a unique free spirit, just like me, go fuck yourself.” Like I say, maybe it’s wrong, but that’s how I took it.

Polygon has called for Kotick to resign:

I’m not the person you replied to, but as I see it, complaining about “the narrative” is almost universally used to mean “I can’t say you’re wrong about anything, but I don’t like the implications of those true facts”.

I don’t play this genre of games, but boy one of my least favorite game things is when the game does something annoying, and then makes it an upgrade to stop being annoying.  Like, in at least one Tomb Raider (reboot) game, climbing with the pick axe is slow and annoying, and there’s a skill perk to make it faster. …

It’s a paraphrase (possibly intentional) of a famous game design statement: “Given the opportunity, players will optimize the fun out of a game.”

Same friend — who is from the South! — smacked his forehead (over the phone) when I pointed out that the name “Rita Skeeter” kind of gives away the game about the small insect that buzzes around during the book.  I think he’s kind of inattentive.

Which just reminds me of this exchange I had with a friend; the friend was a book reader, but I experienced the entire series as audiobooks.

In particular, through Goblet, the books have a large dose of “mystery stories for people who haven’t read a lot of mysteries”. Which is fine, because the audience hasn’t.

That’s someone who needs a blog.

I saw the musical of SoR in London a couple of years ago and it was pretty reasonable.  The kids play their own instruments, and much to my surprise, despite it being an Andrew Lloyd Webber show, they kept the original School of Rock song because it’s “iconic”.

That’s the piece where they accidentally said/implied that it’s on Paramount+, so this whole article is really a correction that doesn’t mention the original error.

As I see it, the entire point of The Leftovers is that we can’t know, because the Departure is a metaphor for death. “What happens after we die” is not a question to be answered in a series finale, or at all.

OH GODDAMMIT they would, wouldn’t they?

Martin Sheen seems cool, but oh those boys.  (Maybe there’s a third one who’s OK, like a Cooper Manning thing.)

Post-viewing: there are definitely some moments when I thought, at the time, “this would have landed better if the previous phase of the story had been active in my mind for longer than an hour”.

By the way, news from opening day (Friday) at my theater: NO ads, NO previews. Very strange.

Yeah, now that we’re post-release, spoilers, blah blah: it seemed like they were heading towards making that one Deviant a character, but then they just stopped.  It felt like an abandoned idea, although I hate proclaiming things like that when I don’t know.

Or...maybe because the enjoy them?