Looking forward to Bioware’s battle royale clone dropping sometime in 2022, about as much as I’m looking forward to seeing how AAA design in general has devolved in response to gaming’s inevitable catching up with TV and music on the streaming service front. Ringing those “death of single player” /“death of stories…

The problem with this, and it’s a more general problem with the season I think, is that timeline trickery only really “works” in the context of Wayne’s dementia, his wandering, etc. On occasion the perspective of the show has turned away from Wayne’s toward Amelia, Woodard, and the Purcells, but there’s not much…

Here’s my stupid suggestion: Old Wayne being back in the documentary interview after they quashed it a few episodes back indicates that not only are we moving freely between the three discrete timelines, we’re moving *within* them as well, jumping back and forth.

It’s too bad nobody told them about the other kind of anime before they green lit a movie producing a real life anime girl, as though anime nerds were waiting for one before they could spend some private time with their imagination. 

Having recently regressed into childhood and taken advantage of my PLEX server to have L&O running constantly in the background of whatever I’m doing (finally, a use for a tablet!) it’s funny to see when the same headline got ripped across the big three L&O properties, even though something like the “perps bribing…

If anything I think critics (and audiences) were more excited by the ways that Split *did not* repeat the Shyamalan schtick, and we’re hoping that Glass would be more like it than Unbreakable. 

Split and the one before it (something about grandparents?) indicated Shyamalan might have actually become aware of his greatest, all-consuming weakness - the ease with which his own writing becomes rigid, tedious, and predictable - and realized his work benefited from just being bugfuck ridiculous pulp without the…

There were a lot of red flags from the beginning. This, like Nightflyers, was meant to drop last year but got held back and retooled due to negative test feedback.

The relevant bits of the Passage are pre-apocalyptic.

In point of fact, the pretense to the creation of the super-virus was to use the vampires as hunter-killer smart bombs (the book lampshades how stupid this idea is even before everything goes to shit). But the actual discovery of the virus in the first place is driven by its prospects as a panacea.

tbh, not really? here’s the first sentence of the book:

As it happens, something can suck while also being doomed

It was by some measure the most successfully realized and well-paced Marvel Netflix season, save maybe Daredevil S1. A lot of people had imminently justifiable aversion to the Punisher character as a concept, and there’s the “secondary plotline about plucky law enforcement / journalist / steadfast love object agonizing…

The thing about S1 was that the writers clearly knew that, and so placed Micro and his drama at the heart of a show ostensibly about Frank. So Bernthal got to play with more than just grim determination and masculine self-pity about his dirty soul and his dead family (though there was plenty of both), he got to be…

That’s newswriting prodigy Karen Page, sprung like Athena from the forehead of purest journalism, to you

Is there anything in his filmography you didn’t cover

The Rocketeer didn’t get its due but that’s no reason to pretend that Thor wasn’t the absolute best MCU movie until Ragnarok came out

Anyway, by way of more substantive griping... I was surprised by how underwhelmed I was by Killing Eve. If I were to summate it in as reductive a way as possible I would call it a gender-flipped Hannibal with the tonal palette / rhythms of Orphan Black, and those things together turn out to create an extremely weird,…

#Terrorwuzrobbed

I found the audio drama really dull for a few reasons (and Gimlet’s got that venture capital stink on it), but I imagine it might be better with screen actors on screen rather than screen actors on audio.