I appreciated the sly smack to Jenny Ortega from a true comedy writer (“I make all my lines better!”) but this one simply continued to weakly stink of the Schaffer-fomulaic-work-backwards-from-the-big-conceptual-joke that’s hobbled the show for 4-5 seasons already. You can see the “Fulton County Mug Shot” coming as…

“I’ve never seen Hollywood this scared and clueless, and at the mercy of Wall Street,” says Issa Rae.

Christopher Guest already directed an interesting slightly-reimagined version in 1992 starring Daryl Hannah. (I fuzzily recall it being an HBO movie that screened theatrically for a few engagements.)

Thank yo thank you THANK YOU for not making this (and the other Netflix updater) a slideshow, AND for (for the most part) not having the staff attempt the regular sub-AI “jokey patter”. Just the dates, players and synopses? ‘Twas heavenly, even if it services a single streamer.

I had no issues with Nathan the actor. It’s with Nathan/Safdie as writers of the narrative, largely due to this ending.

(That’s not “the opposite opinion” at all. You are saying the same thing, albeit in a more confused, clumsy way.)

I agree with much of the commentary I’ve seen, which is a deflating disappointment with a completely out-of-the-blue, unearned supernatural cop-out ending (even knowing that this was always the planned ending). I’ve loved Fielder’s other work, but this makes his next *scripted* project more of a wait-and-see…

“...films like From Dusk Till Dawn (1996), The Relic (1997), and Deep Rising (1998). The latter two were efforts by then-unseasoned directors...”

It’s artful construction, yes - for an entirely and wildly inaccurate description.

As if giving us his own filmography wasn’t enough he also gave us Hal Ashby’s.

“City of Hope” *juuuust* edges it for me, and it remains criminally underdistributed and underseen.

In that still, he seems to be aging into Albert Finney. Which is not a bad direction.

If he had had Sid Caesar’s writers he wouldn’t have been in that mess in the first place.

How convenient for him that his show is *already* station #1 on the reputation-rehab train for monstrous assholes.

He means that Dave Becky and Mike Berkowitz used their considerable leverage to logroll and quid-pro-quo their then-sole black client into any and every studio project by their “mainstream” clients and utilizing their considerable P.R. operations for him, making him familiar and palatable and giving him exposure and…

Except that they never really were “there every week”. The tv season was September to May, or 40 weekly schedules. Original episodes in a series only took up 22 of them. The rest of the weeks were leavened out with reruns of the highly-rated episodes, specials, movies, and sports events.

Merriam Webster is the chief condoner and mainstreamer of all sorts of mistakes that fall into the common parlance via idiocy. “Irregardless”, greenlit vs greenlight remains an important distinction in an industry inexorably entwined with lighting.

I’ll certainly consider it... but Martin is wrong, I’ve only seen the amateur and fanblogs use it wrongly “in the production sense”, and until production crews and the trades change, it’ll continue to be wrong. 

I recognize that this site is crumbling and getting more amateur every week, but “greenlit” means “lighted with green-shaded filters”. A project being given approval to move forward in production is “green-lighted” (sometimes not hyphenated).

“Self-Exclusion” was last week’s ep. This was is titled “Down & Dirty”.