I kinda want to talk to some of the voters because it seems like really different criteria were used. Are you voting for a show’s highest high, or like an average quality level? Because I get that the Wire probably stole a lot of its votes, but something like Show Me a Hero that gets in there, does what it came to do…

Hell, I remember the show itself as being often very good, but pretty uneven.  It and Dexter’s relative placements alone make a decent case that your last ten minutes have a decisive impact on your legacy.  

Kinda? It’s a bit like saying the religious symbolism in the The Ten Commandments is too overt or that Psycho really hits you over the head with its mommy issues. The Genesis account of the fall of man from an anthropomorphized Earth’s perspective is less some hidden meaning you’re meant to tease out than just, you…

Yeah, every A-list movie star necessarily passes on more projects than they take, and it’s not that weird that some of them turn out to be successful.  Will Smith was almost Neo, Hugh Jackman turned down Tony Stark, etc.  The books were obviously popular, but it’s not like the films were a guaranteed success sight…

That’s a crapload of reboots, but I’m talking more about this awkward trend of mid-timeline reboots that keep some, but not all, of the original movies. In terms of what “really happened” in each story, for example, this is the third attempt at a Halloween III, all of which start counting from the same Halloween I.

IMDB has him in two announced projects, plus another in pre-production, and that’s not even counting the Free Guy sequel that is supposedly in the works, so unless all of those are somehow cancelled, this feels a lot more like “I’ve negotiated a small hole in my schedule” than an extended hiatus.

It always carries an absolutely massive dose of entitlement with it, as if preserving your individual nostalgia for some corporate IP should be everyone else’s top priority forever.

“Pandering” is fundamentally useless as a distinction when you’re talking about a company the size of WarnerMedia. Oh, you mean they’re making something they think people might want? Like every other decision they’ve made for decades?

The Kurtzman Star Trek only has two timelines, right? There’s the Abrams total reboot, and everything else is technically in continuity with the original shows. A lot of them are really different in tone and aesthetics, and they’re set at different points over like a 200-year period, but they don’t officially start…

Multiple episodes are explicit albeit loose adaptations of actual (mostly)  ‘70's comics.

Also, while we all have innate tendencies, your personality is often heavily shaped by outside feedback. If you’re at a certain level of rich and famous, people usually stop telling you you’re being an asshole to your face. And once it seemingly has no consequences, it’s easy to keep doing it. It’s hard to imagine…

“I actively try not to be like her, the mere thought of seeing her made me tense up, she talked a lot of shit, and it was a much more pleasant environment when she was gone for good. I love her. We don’t speak.”

The weirdest part is how Curtis is in several of those sequels that we’re apparently pretending didn’t happen. Is this the only franchise to have been rebooted from three different points?

I dunno; I feel like this was all a bit tongue-in-cheek from the jump and is explicitly a promotional stunt. I don’t know exactly what the right answer is, but I think just looking at America’s professional sports gives us some clue as to why making a magical native your (75%+ white) city mascot might not be a great…

Alien is the most influential and the movie that will open his obituary.

Blade Runner is the best.  

Same. Clicked because the name was familiar, recognize the face, and the only other concrete thing I know about him is that he’s leaving this show I’ve never seen.

The show’s also had what, fifty or sixty regular and a hundred recurring characters at this point? And typically dedicates 2-6 episodes person season to largely siloed off vignettes or character pieces? An anthology series might’ve made sense for exploring wilder ideas if they had a tight main cast that needed to have…

Once you’re big enough that the only people who ever really challenge you on anything are the other guys in the band, the countdown to the end begins.

It seems like the show has adopted a revolving door structure, where characters are “gone” instead of killed. Which makes some sense when you have a few characters like Rick, Michonne, and Maggie who have a long history that can’t be easily shifted to a new character, but is weird when it happens to glorified extras.…

I feel like the show has always played fast and loose with the professional sports aspect of all this. In a situation where these guys have worked their whole lives and now have millions of dollars on the line, there’s no way they would all be banding together behind a coach who doesn’t know the basic rules of the…