Hoopla is exactly how I got to binge Saga.

It’s got the same vibe as Robot Chicken, which is to say it works much better as short skits and segments, ideally spoofing different pop culture franchises, as opposed to a whole 30-minute show dedicated to one.

One of the dumbest usability trends of the past decade or so was desktop websites deprioritizing sidebar navigation, and putting navigation at the top or bottom.

Where’s the samurai tho

Also aren’t She-Hulk and Daredevil triple-A list for thirstiest Marvel characters?

That’s true but I also think that people have this false sense of schadenfreude saying “wow the Saudis gave Elon $20 billion dollars to stroke his own ego, good riddance to them all when Twitter’s completely gone in 8 months lol.”

To the people who are so happy and excited about how Elon’s oligarch creditors are gonna cream him for losing all their money: THIS is their real goal.

Andor really showed me the upper limits of what the Filoni side of SW can do, storytelling-wise, which is to say, he’s never gonna go beyond Disney-XD level maturity, including his live action stuff. It’s good, but it just can’t engage with me fully as an adult.

New entries of older franchises will usually gross more domestically versus newer franchises, because the new entries are dependent on nostalgia of parents who saw the originals as kids, and older franchises were usually much bigger domestically than internationally (since the biggest markets now weren’t nearly as big…

I don’t blame him at all, as I said I love his commitment to maintaining control of Spawn (and, second to that, to not having to crawl back to Marvel). He’s taken so many hits as a business person (some deserved, some not), but managed to hold on. He seems genuinely happy about what he gets to do on a day to day basis…

...the toys? You can argue about trendiness, but his toy business continues to be successful in its niche (such that he is producing toys for both DC AND Disney).

Yes, you’re right, it’s more complicated with adapted works. Obviously a separate contract would have to be made with the author of the work being adapted, who would retain all copyright to their book.

I will never stop loving how stubborn Todd is about Spawn; when almost all of the other Image guys sold out and came back to Marvel or DC, Todd sat there with his arms crossed. You know Marvel was begging him to do some more Venom work when the movies were coming out.

The movie example was simply to show the different standards in similar industries; for literary authors, they almost always retain the copyright to their work (as you said, for film adaptations they would only be licensing the film rights to a studio).

I just wonder what the standard practice is in the tattooing industry. Like, if I go into a tattoo parlor and ask them for a contract that assigns all rights to me, are they gonna laugh me out of the shop, even if I’m willing to pay extra for it?

Is it such total standard practice in the tattooing world that the artist retains the copyright on their work, and is a work-for-hire agreement (and material release) not an option? I get tattoo artists wanting to keep their copyrights (clearly it’s working well for them) but especially for famous people like LeBron…

Sorry guys, I was really into the concept of this but the central conceit of the Loopers just made zero sense. There are so many easier ways to just kill a guy as long as you can get them to walk into a room to begin with. For example, just have the floor collapse into a burning furnace. I don’t remember how the time…

Maybe just maybe we can take this moment in history to remind everyone that anybody who declares themselves a king over others is the villain of the story, not the hero.

Yall acting like the jet ski dealership isn’t the biggest MCU confirmation of the year. 

So if at the end of the movie we zoom out and it’s an corporate D&D team-building exercise among employees Chris Pine, Michelle Rodriguez, Rege-Jean Page, Justice Smith, and their boss Hugh Grant, does that make it better or worse?