Here’s a more recent example of fine singing and Dylan’s continued relevance as a pop and folk musician.

He actually isn’t. In particular during the time this film is trying to depict. The key to understanding Dylan is that he does whatever he pleases. When he feels like putting in a good performance, his singing isn’t bad.  Even in his most recent recordings.  Before he went electric, his voice was gravelly but…

It’s actually “Lou the 9th-14th,” you uncultured sow.

It’s not like a Sony thing. Marvel owns Hulk. Universal just has distribution rights. Creatively, Marvel can do anything they want with Hulk except distribute a movie that he headlines and Universal can’t really say anything about it.  Those rights revert back to Marvel real soon though if they haven’t already.

Counterpoint: I think they went overboard with showing the victims of Joel’s massacre as human and sad as possible. There were nothing to soften the blow here, and the music was to underscore the tragedy - not to make it melodramatic.

regardless of how (if) this movie turns out, it is crazy that adam driver has worked with deep breath: spike lee, jim jarmusch, ridley scott, martin scorsese, steven soderbergh, michael mann, terry gilliam, the coen brothers, noah baumach, spielberg and now coppola. all while starring in 3 star wars movies.

Yeah I’m reading It’s Not TV now–a great history of HBO–and it’s clear that the AT&T people fundamentally didn’t understand why HBO was valuable for anything other than a platform for Content. Discovery seems to be banking on HBO’s prestige/cultural capital as a counterpoint to their normal reality/lifestyle stuff and…

DWD definitely at least break even ( including all the promotional cost ) as it made 87 millions worldwide.

It probably even made a few millions in profit, which isn’t bad at all for a 30-35 millions production budget.

“But it’s also the byproduct of releasing a bunch of movies that didn’t make any damn money; when Black Adam and Don’t Worry Darling are your two big box office tentpoles, your tent is going to develop some pretty serious, billion-dollar dips.”

“And I had a list: I didn’t want to wear a traditional uniform, or continuously say ‘engage’ or ‘make it so’ for the sake of it.””

I feel like writers who really like to delve into this era have some issues they’re working through. I loved the LA Quartet but after reading it straight through just felt terrible about humanity. Man, Elroy really didn’t seem to care for women or minorities.

I have always loved this bit:

Tambor was a major asshole to Jessica Walter, for sure—she said as much in that cast interview with NYT: “In like almost 60 years of working, I’ve never had anybody yell at me like that on a set”, but she later said that Tambor apologized and she forgave him for it: “I respect him as an actor. We’ve known each other…

I am a 4th season defender, I think it has some really solid bits. Especially GOB and Tobias. Could not finish the 5th season, and the behind the scenes stuff was even worse.

Few men are Jim “Full QAnon” Caviezel

Stop making sense and just grab a pitchfork.

“Consider instead that Warner Bros. has more or less gone bankrupt, without anybody really noticing before it was too late, and that the current guys are simply trying to save a few key assets from the wreckage.”

Maybe they used to. But realistically, who is signing up to watch Westworld now, knowing it will never be truly completed? People who have already seen it may rewatch it, especially S1 which is great. But new viewers? I doubt there are many signing up for disappointment they know is coming.

If a writer doesn’t have the benefit of family connections or possibly a time on the Harvard Lampoon they’re going to be writing a lot of bottom of the barrel shit when they try to establish themselves in Hollywood. A lot of talented writers never get to break out and spend decades taking whatever they can get. I’d…

Who is “us?” You a staff writer for AV Club or speaking for all of the commentariat now?