There’s also Ant-Man’s daughter who they probably wouldn’t have bothered recasting twice if they didn’t intend on following up with that character.

I thought they did a really great job of leaning into how well Danner could intuitively read people and set them at ease even in potentially stressful situations— particularly Willow in her own episode, and how she was pretty irritated at some of the weird affectations of a bunch of the main potential suspects while…

What even is the corporate structure here any more? Is the Takeout still a spin-off of AVC and are there any GMG sites that I can visit in good conscious (or is something else going on with those too? I thought some of the AVC people were still here through the week?)

Sometimes you do have people who dedicate years of their lives to a project that ultimately falls apart without them though— Like Del Toro and those Hobbit movies, Bryan Fuller’s death touch, or any number of Star War directors for better or worse.

I’m not super familiar with the franchise but I thought Discovery as pitched by Bryan Fuller was originally meant to be an anthology show?

I thought The Mandalorian is mostly stunt people and a voice over performance as is, barring any unhelmeted scenes?

Oh for the life of me I forgot where the Ponies came from, but it is funny that it seems like Hasbro and Mattel have both played nice enough with Disney for their merch to show up in major movies.

Space Jamification is easy enough if they’re all the same corporate overlord, some of the other details really make me wonder the logistics of some of the IP at stake though.

Midnight Mass borders on some of this territory (an isolated religious island town somewhere spooky) but it went in some directions I really didn’t quite expect and appreciated, despite it being a pandemic production about community. 

What counts as an indie here?

I don’t have the slightest idea what Wow is even after googling it. It stands for World of Wonder, which I’ve associated with a Christian bubble tea chain(?) but I guess it is also the production company for Rupaul’s Drag Race and I guess a lot of other LGBT adjacent stuff.

That is not a subtle name for Michelle Yeoh’s character.

I still generally like the guy despite a big year for him and I wonder what it is about Andrew Garfield also having three movies to promote (including the LMM one) but it doesn’t feel there’s nearly that same backlash for him? (Underdog vibes?)

Some of the jerkiness does sound like pointed cruelty as opposed to just obliviousness. (Slideshow to roast a single writer or hearing about his girlfriend’s emotional pain and proceeding to repeat it.)

That line is insane and I am inclined to believe Gadot much more, but I thought the Rebecca X portion does support that narrative.

I never finished the series itself and in the lead up to it I don’t remember the press positively acknowledging his presence, but the first episode did still have his name in huge font something like five times in a row on separate title cards. I remember that leaving a bad taste for some, but it’s probably the…

It’s weird that ending had so much internal debate apparently only for them to stick with it despite having concerns it cast the rest of their show into some type of doubt with fandom.

The route that Chucky and Child’s Play took is interesting— In the last two years that one’s been both rebooted in movie form and the TV show is a direct continuation of the convoluted continuity written by the creator. It seems like he’s been allowed to pretty consistently pivot the character into different…

There are some clever ways of sidestepping some of the yellow peril stuff— I feel like Agents of Atlas was sort of ahead of the curve when framed the Yellow Claw as a demeaning and intentional mistranslation of Golden Claw. (By giving Shang Chi a dragon connection though that basically rules out any chance of Jimmy…

I’d say they’re pretty open to scrapping some things or drastically reimagining some details.