And Lost is basically Robinson Crusoe x Lord of the Flies x The Prisoner???? We can play this game all day long.

True, but those savings don’t go to creators. They go to financiers and shareholders. 

I love the theater but understand why not everyone does, but the biggest issue is $. The pay for writers, directors, actors, etc. is so vastly different between direct to streaming deals versus theater runs. Like Spotify, a bigger audience does NOT add up to a more lucrative distribution deal. Even for big studios.

This could be a badass show if it confronts his ownership of human beings. 

Sofia Coppola, Olivier Assayas, Sergio Leone — all were the products of nepotism. I don’t see the men benefiting from this system being targeted by sad hacks. Dry your tears and make something yourself.

That’s zero reflection on actors and 1000% a reflection on the fickle decision making of directors and executives. Imagine hiring someone for such a large sum and having the attitude that they can be cut out at any time. And of course the actor will inadvertently look like an asshole for getting a big paycheck even…

Give Henry Winkler’s eye/brow area a special Emmy, please!

Owning the cultural conversation is really beside the point (shows like Yellowstone are gigantic but hardly get the chatter of more “boutique” content like Succession).

My guess: Albert ends up with a bullet hole in the other cheek and doesn’t survive the season.

This is what happens when you have both fuck you money and fuck you ratings. 

This show has been consistently one of the best on TV. Did among the best jobs tackling life under Trump and COVID. Truly wonderful...

Howard was a little bit like the Job of this show. No matter what befell him, he rebounded with a fairly upbeat demeanor. 

Van has been the centerpiece of some of the best stuff this series has turned out. I’ve really enjoyed this dissociated storyline — you don’t see it much in TV and film, but it was really beautifully (and comically) handled here. A great bit of tension between the perils of motherhood and the desire to be your own…

The best part of the Netflix Daredevil series was its absolute commitment to keeping the action/physicality anchored. Those fights were Bourne- and Oldboy-level in their tactility. By sidestepping all the numbing CGI, they made an action show that actually felt dangerous. 

Amelie vibes. 

I love this story so much. Lynne Ramsay has a great way with adaptations, so I’m not overly worried. But it’s true: the source material is as tight as a Ramones song. 

The first Downton film was a massive hit for a film of its scale (that’s why this new film even exists), showing there were still people in the world who wanted pleasantly gentle cinema. (Paddington 2 looks like Trainspotting in comparison.) DA was never cutting-edge. That was part of its appeal. The stakes were…

That show is so great. I mean, who can turn Josh freaking Charles into a total dirtbag? 

Howard is the one living in the guest house. I presume he’s done something to warrant landing there. It also accounts maybe for his solicitousness. 

Every so often I’m like “wait, what year is it?”