Actually Polanski is portrayed as kind of a weasely guy and McQueen’s dialogue implies that he’s gonna do something to screw up and lose Sharon eventually. He does not come off well.

The point is that Sharon Tate deserves to be remembered for who she was, not how she died. The Mansons don’t get to write the story just because they did a horrible thing. She was a talented, energetic, loving woman and we should think about that more than we think about the butchery. 

I think it was a nod to the Natalie Wood story... It’s a long standing theory that Robert Wagner had something to do with it.

Liked OUATIH a lot (although it helps that I am of a certain age, and hearing those archival KHJ clips with The Real Don Steele and station ID’s that I haven’t heard in over 40 year brought back memories) and did not love Hateful Eight. I wouldn’t say H-8 was bad, but for me it is on the bottom of his filmography.…

I definitely can’t list it higher than Parasite.

One of my favorite scenes is where Sharon Tate goes to the movies and sees the real The Wrecking Crew and it’s the real Sharon Tate onscreen. We see Robbie’s character doing what the real Sharon Tate was denied—just living and loving life.

Saw it this past weekend on a plane and loved it. Thought it was the best Tarantino since Inglorious Basterds. The final 15 are batshit insane and, frankly, too much (though Pitt shines during it), but the whole thing... I’m not a huge Decaprio fan, and thought he was excellent. Thought Pitt was better. It was just so…

You must really hate war films by that logic. I’d argue it’s not an easy plot element, because you need to attack it from a different perspective and try to be “character realistic” as possible. Whereas writing for a completely fictional character is much easier.

You’re entitled to your very, very wrong opinion.

2+ hours of nothing much happening

I think the show has a really good grasp on how an audience can look at Dr. Manhattan and still maintain suspension of disbelief. Hiding his face from us initially, getting him in his Cal suit quickly, making him an iota more human—that allows us to believe that he’s real, and believe that all these women are falling…

“Deciding to step to the left of the beam for him would be like me trying to avoid a car accident five years ago by thinking about avoiding it now.”

I would just echo what several others are saying, Dr. Manhattan isn’t omniscient in any traditional sense. He doesn’t see the future, he experiences it.
What he knows of what’s to come is what he has personally experienced.
Deciding to step to the left of the beam for him would be like me trying to avoid a car…

I buy some of this argument because the show is walking a tightrope with the nature of Dr. Manhattan’s consciousness and how he acts. In the comic, as a watchmaker’s son, he is entirely passive. He watches Blake shoot a woman and does nothing; he meets Laurie because he’s called to a meeting to form a new super group;…

His whole shtick does not necessarily presuppose a totally predetermined universe. Jon’s more-human-than-given-credit-for mind is not conceiving his ability to see time non-linearly as an opportunity to make change. He steps in front of the cannon presently because he already saw it succeed and made himself a slave to…

I think he intentionally gets hit by the beam, not because it wasn't avoidable, but because it was necessary. Why? We just don't know yet.

Imagine you’re lying in a pool of your own blood, dying. Think of all the regrets you’d have, all of the things you’d wished you said and things you’d wished you’d say.

I read it as a example of Jon being surprised in the moment by something he foresaw earlier. (“You mean that you’re sleeping with Dreiberg?”) Both he and Angela think they’ve killed all the 7th Cavalry, but crucially, the one manning the teleporter is shot by Angela, not blown up by Jon. So he gets back up and fires…

The point is that the Dr. knows that gun is there but can’t move because he doesn’t move, the only reason he knows it’s there is because he’s going to be shot by it.

Joelle mentioned it, but yeah, a very unsatisfying resolution to the “inevitable” tragedy looming 10 years in the future: a racist with a future-gun slowly moving in the background.