You left off the important part of the Preventers quote: “Great, now let’s find whoever did this and prevent them from breathing.”

Yes, and at the same time, Kindred also covered a lot of regional folklore in a pretty interesting way, expanding the world of vampires. I think it’s actually a really good encapsulation of what’s good and bad about the classic WoD stuff.

Realtime recap: Oh, cute VHS intro. Hey, Mick doing trailer voice, that’s great. Oh, dramatic dialog, cool. Man, this looks fun- holy shit the animated episode, I will fucking kill to see this, and I know I don’t need to, because, like, it’s just going to be on TV, but there is no limit to the murders I would commit…

And I wouldn’t want to deny that. It brought a lot of queers into the hobby too, and if I hadn’t gotten into it with the WEG SW:RPG before I understood what being bi and non-binary meant, WoD would have cemented it for me, for sure.

Sure, I’m not denying that they’ve learned. But there’s a huge difference between “we’re constantly pushing for more representation” and “we’ve always been representation.”

I would be so on board for a season of LoT where the Legends are the antagonists.

“Just, ah… don’t mention the Ravnos who are clearly based on the Roma people and are compelled by their very heritage to commit crimes. And while we didn’t include the mental health community, also don’t mention Malkavians, who are mostly TV-movie ‘insane’.”

Everyone remembers that, nobody remembers Zari, who is who we remember. Fucking comic-book time travel. It’s best not to think too hard about it.

That is basically the Zari/Behrad subplot. Zari came from a dystopian future where Zari was a resistance fighter (and Behrad was dead). Time travel happens, and now Zari is a future social media influencer, Behrad is alive, and the future is basically the present.

They hit occasional future stops (Zari and Behrad are actually from the future). They definitely do past more often, but part of that is the stakes- often events are trying to change the past.

That is a very fair point. The whole use of a real astronaut is problematic, and I have to wonder why they made that choice, and how much Ride’s family was involved.

Two things. First: the time jump follows the pattern established in the 1st and 2nd season. S1 mostly focused on the 70s, S2 mostly focused on the 80s. S3 then, in the 90s, makes sense.

I think a big part of why they wouldn’t is that it’s not much more interesting than launching rockets from land. It just lets you launch much larger rockets because you don’t have to build all the same support systems to hold the rocket up while you prep for launch.

TIL he grew up in Sweden, and that explains his affected English, but also, like, I didn’t even think he was all that affected about it.

I agree that I wish certain plot threads had a more concrete resolution during the season. I get the “time skip”, if only because the series kinda established that motif- a decade between seasons. But yeah, Ellen should have had a more concrete position- though my hypothesis is that she stays in the closet to climb…

Yeah, I did not appreciate Patty Spivot cougaring over a, what, 19 year old? 20 tops?

One of the main things that prevented nuclear war was that a black woman decided she’d had enough of waiting for her turn and forced a mission which was otherwise scrubbed, and I feel like there’s a lot to unpack there (which I’m radically unqualified to do, I’m just pointing towards it).

The thing I love most about film-making are these kinds of stories.

They were mostly disappointed by the way MST3K edited the movie (cutting out bits they thought should have stayed in), and the guy who played JK Robertson just didn’t get the whole thing, like why are those stupid robots talking over the movie type not getting it.

I mean, half the charm is the bad actors just doing their absolute best with the material. Like, everybody quite clearly cared about the movie, and it comes through.