True for the most part. But there have been exceptions where they have gone over ten million. A couple of those were Halloween (2021) and Glass. The last Resident Evil movie Welcome to Racoon City was on a budget of 25 million. That being said, I’m fine with them sticking with that being the sole reason as to why they…

“The trick is to make them charming and entertaining enough, so you can easily enjoy watching them do stuff without caring that they’re bad people (or still feeling sympathetic to them). Good villain protagonist stuff.”

What I’m wondering is how they’ll use forced perspective to make that actress look like Rachel Zegler.

downside is this one cost a lot more than the previous ones, and i’m sure the cost of the sequel is ballooning with the strikes, too.

Yeah, I thought they ended it quite well. My only issue with Dune was the ending, though I know it’s basically supposed to be one movie split into two.

It was (contemporary, not washed-up) celebrities signing up to twitter that made it a hit, right? So I guess the same thing needs to happen.

Threads, just like Instagram, is all about Content™, but if they can get news/sports Twitter to migrate there it’ll be all over. That, however, would take a sea change in the way that Meta’s algorithm works given that right now it’s overwhelmingly influencer- and brand-centric.

I haven’t been there in a decade. I wonder what people line their parakeet cage with now.

You said “Twitter, for better or worse, combines being entertaining with being easy to use” which was maybe true a year ago.

Threads, just like its parent app, is nothing more than a place for brands and vapid influencers to get as many parasocial relationships spun up as possible so they can fleece the rubes.

That actually makes me wonder how far away you have to be in person to appreciate it. Looking at this thing across the street would be a formless bunch of lights, no? But a few blocks away and from the vantage of a tall-ish building, you then appreciate the animations.

[hands you a flyer for prostitutes]

The whole episode is light on repercussion and long on unexplored implication.

I was at a conference three months ago and staying next to the sphere at the Venetian, and this thing really does make an impression - it really does look massive. I can’t imagine what it’s like now that it’s up and running, but I bet it’s a pretty great experience.

Yeah I’m kind of bummed she didn’t stick with her original burn book lyric. No one would blame her for it. Maybe she’s chilling with age, but it’s entirely legit to observe an ex was drawn in by a woman legendary for a good time.

Yeah. I don’t begrudge her for updating her work especially given the reason for this undertaking. But I also hope that most people can agree (and based on even the tone of this article it seems clear we won’t) that a lyric in a revenge song being a real actual insult is the kind of shit that MADE Taylor a star. It’s…

I totally get why it’ll be reworded, but my take on it was that the character singing was lashing out and being nasty intentionally. Swift has liked painting herself as the villain for a bit now.

it was kind of too good to check when Moskowitz was making it up on a podcast.

Hopefully, that grim reality will drive AI-generated-content-detection technology to keep up.

That is probably the only way it would work (assuming it’s still supposed to be some version of Geralt). The comic book movies have been softening the mainstream up on the multiverse trope so I can even imagine it being sold as an opportunity in a pitch meeting.