What’s actually more interesting is she hasn’t had those kind of hits for a few records now, outside of, to an extent “Anti-Hero.” (Thank you, Tik-Tok) Of course she’ll fill up the streaming charts the first week, like all big artists do. But it’s an interesting question if her true “hit” era is behind her, or if…

I could not disagree at more. Diaz is lost at sea in Gangs, in an underwritten role that was never going to amount to much, no matter who played the part.

More like WB wants to bend over backwards to try to woo Nolan back into the fold. 

Whether they worked for you or not, there are obviously several moments in the sequel that are aiming for the tone of part one. Most obviously, the natural history museum, which I personally found to be an incredible scene emotionally, and an incredible application of alternative gameplay to endless action.

Whether one agrees or not, there are reasons for the other films you cite as well. Gangs of New York was put in original because it was deemed that the book was used for research but the actual characters were purely invented. 2001 was inspired by The Sentinel and obviously bears a couple similarities but Arthur…

Well then, hear me out here because I’m spitballing, this isn’t about you.

It honestly makes a fair amount of sense. I’m not a Snyder guy, but his films have a very distinct voice, for better and often worse. And the thing I do appreciate about him is exactly what Nolan is saying, there’s a longing for spectacle, bravura, enormous moments and a striving for the iconic. Zack wants every shot…

It’s pretty simple. Because The Marvels is a failure on the level of what theatrical Marvel movies are supposed to be. And is troubling from the point of view of the health of their entire market segment.

I don’t think it’s simplistic as “I don’t understand that the good guy is fighting to save the world.” It’s just, after you get out of the habit of watching this stuff (which I have), you start to feel disconnected not just from the plotting/new characters, but emotionally disconnected from what the hell is going on.…

Acting like this is a black and white issue and Barrymore (along with these other hosts) are terrible is incredibly absurd. These shows didn’t rely on much writing and can clearly get by without it. And they’re putting hundreds of crew members back to work.

Of course I noticed. That’s why I pointed out how media works. The headline of the article is:

Oh, I didn’t realize you missed it. Here it is, the original article where they are singled out. As I said, yes, Kutcher and Kunis end up in headlines because let’s face it, more people are clicking that link than one with Rupp and Smith. But they were definitely included in most every article I saw on this subject,…

Your thesis is flawed. Rupp and Smith were included in all the articles and their letters were printed. Rupp isn’t active on Twitter but I looked at her Instagram and it was filled with endless incendiary comments. They are not “escaping any and all” criticism at all. It’s simply not true.

It’s funny, ticket prices now vs 1995 are just slightly ahead of inflation. I agree with your essential point though, they feel expensive. Primarily because Netflix and the other streamers destroyed the concept of what quality programing actually costs, by subsidizing them for subscription growth and stock increases.

Saying it doesn’t exist is also a far cry from reality. It’s not currently available on any subscription service. But you can 100% go purchase it at Amazon or Apple for a few bucks. You just have to actually want to pay money for it, like you’d have to back in the DVD era, if a show you like never made it to…

I believe the point is that comedies are, indeed, on a downslope and this was true prior to the pandemic. Even the examples you cited, most aren’t pure comedies. Bodies is clearly half in the horror camp and Bullet Train is action. Even The Lost City had enough action to help sell it more broadly. Easter Sunday indeed…

Force users are definitely notoriously hard to kill except when Order 66 is given and then any rando storm troopers can just blast them down immediately.

Ha. Voice of sanity. He was acceptable. Not as annoying as the prequels, yet you barely had to look at him or hear him in this. He was a glorified extra.

This is such an absurd over simplification of a very complex issue. Elvis, of course, profited off his position as a white man bringing elements of the blues and black music/culture to white America. Of course, part of the thing here is he grew up in those cultures, was a part of that music as it was happening, and of…

Yes. Everybody seems to be misunderstanding what happened here and what the repercussions are/could be. Nolan aside, the battle isn’t merely about the big screen experience (though there’s a bit of that for certain talent), it’s that the studio who for decades has been talent first, essentially bungled the way they…