“Anyway, The Harder They Fall is going to star Jonathan Majors as an outlaw who discovers that the man who decides to reunite with his gang for some old-fashioned vengeance after finding out that the man who killed his parents (Elba) is being released from prison.”

are we really just at a place where we see an episode/twist like this and think “oh man, so cliche, what a predictable ending”? like this wasn’t clearly ingrained in the show from the literal first scene?

I fully agree that I didn’t really understand S2 until I rewatched the show and came to appreciate it. S3 was fantastic too, but in some ways felt like Esmail deliberately swinging the pendulum the other way in order to bring back some viewers he lost - a lot more action-heavy, a lot more humour with Irving (RIP,…

absolutely no idea what that means, but I’m sure it’s super clever and witty, chief

Into the Spider-Verse is up there with my favourite pop culture of the entire decade, honestly

I enjoy how laidback she is while still clearly being aware of how good she is in all these shows, especially The Leftovers. it’s very gratifying that the stars and crew of that show know how highly it’s regarded and weren’t bummed out by the low viewership numbers.

oh, I don’t disagree. as far as simple, clean drawing he’s easily one of the best, and his character design just pairs so incredibly well with the dialogue

best dialogue of any comic I’ve ever read, for sure

yeah, this looks decently creepy, and he’s always had a talent for framing/camerawork even when his scripts turned appalling. I’ll give this a shot

he was the best part of that very likable movie

really? it sort of seems like perception of him is shifting from ‘that guy who’s funny in In Bruges’ to ‘actor who’s working with some of the most interesting filmmakers around and really pushing himself out of his box’, at least where I’m sitting. The Lobster was where it seemed to start changing for the better

no doubt, but it’s just an 4-line intro to get us hyped for Kanye coming in - I don’t think that verse really needs to be good. he gets the spotlight for 2 minutes on Devil and it’s pretty much a turning point on the album, so there was a lot of pressure to deliver that verse - and he fuckin’ nailed it

he even gets an incredible verse out of Rick Ross on Devil in a New Dress - a verse that does not sound like, well, literally any other Ross verse

pretty fine line between inspired stunt and gimmick, I think. not even sure which side this fell on. the framing device of the two lines of dialogue was very clever, but I don’t know if I felt there was justification for the whole episode to be silent - not in the same way as the one-take episode, anyway, where that…

Cochise, Shadow of the Sun, Like a Stone and Show Me How to Live are all definitely pretty good songs. after that album.... something happened and the rest was pretty much listless radio rock

after Prophets of Rage, I’m pretty good having no new music from RATM, tbh. (hell, most of Audioslave has aged like milk too).

one of the most totally endearing, likable characters on television. I was so gutted that S5 barely even remembered her but 6 is doing a much better job

I thought this was one of the best episodes of the entire series. Reminded me of “Pine Barrens” of course but with a healthy dose of Fargo S3 in there, using the snow and isolated buildings as a tool for the characters to confront the emptiness inside themselves. I’m a sucker for ambiguous shit as long as it doesn’t…

it’s one of Lynch’s finest achievements

I’m pretty lukewarm on Mr Peanutbutter’s Boos myself, to be honest. it was fine, but they had an opportunity to dip into PB’s psyche for the first time in the entire show - like actually give us a real look at why he is how he is, why his relationships always end the same way etc - but instead it shifted way more…