Joe ends up on the Iron Throne.

Look, I’m just a caveman.  Your society confuses and frightens me, but if a woman can’t ski out of control into a dude and leave him unconscious and deserving of $3 million then I’m not sure why they dug me out of that glacial creavasse.

Now I’m just a simple small-town lawyer, but it’s pretty obvious to me that they simply collided into each other like a couple of characters in a Hanna-Barbera cartoon.

The obvious move here would be to finally give Joe his comeuppance in the last episode, but I would honestly respect the cynicism and nihilism of having Joe escape the noose one last time and ending the series showing him gleefully going about his murder business for years and years to come.

Last scene: Joe is a lumberjack.

Also, sometimes the investigators themselves were roughed up, and advised that they should stay off the case if they know what’s good for them.

Mildly hot take: Garden State was a solid-to-good movie that had the enormous disadvantage of kickstarting a mini-genre of shitty twee films that made their inspiration look worse in retrospect. (Easy to look like you’re just abusing annoying tropes when everything in your film becomes a trope immediately after it…

It seems that we have to endure one every decade, so hopefully were paid up until the 2030s. 

bad dialogue and platitudes instead of actual pathos

Maybe they meant a hair dryer attachment.

“they’re good movies”, lmao

Me. That’s my answer. I do ot want to see that. This seems like one of the smarter decisions Netflix has made recently. You don’t need that much money to create pleasing but banal production design. I’m sure most of the budget is for above- the-line acting contracts, though. But in the age of Tyler Perry and shitty…

Luckily, she’s now being offered meatier characters and starring roles, in which the persona is not tied to the way her body looks.

Why would you remake Road House. It’s a rare example of the “perfect” movie in the sense that Road House is 100% the exact movie the makers of Road House wanted to make. It’s also, imho, the perfect example of making a movie so “bad” it’s good on purpose. No one writing, directing or acting in Road House thought…

True story: I had a buddy in theatre school whose Asian and he was even the lead in our year end production of Footloose and he just couldn’t stick with it out of fear of not getting roles cuz he’s Asian.

I think he’s an optometrist now. Good dude. Made jell-o shots with him for a Halloween party one time. 

At this point I only still watch it out of inertia; my parents love it and so we go over to their place once a year to watch it. I don’t really care what happens, though, just so long as the ceremony slaps.

The way Marisol Sacramento was able to show Lucy’s cake bite having its intended effect as she was eating it was hilarious. And perfectly punctuated by Lucy’s triumphant fist pump. Also great — Ron’s utter bafflement after watching Sackson film his TikTok video. Show’s not hitting the heights of the first two seasons…

One great little touch in that scene is that he missed the breakfast deadline so tightly that the meals are still stacked up right behind the counter, and the employees could easily just grab one if they wanted, but still insist on going down the company line probably because they’re terrified of their boss.

It’s interesting as a litmus test just because there’s a much more expansive take than the binary “he’s a hero/he’s a villain”, and that’s that he can both be sympathetic for facing issues everyone does and sometimes wishes they could rail against, while also being an example of someone going off the deep end in a way…

The movie manages to be simultaneously anchored to the exact time it was made (DFENS being a defense contractor who just lost his job due to the end of the Cold War) and more relevant than ever (pathetic middle-aged white guy snapping and going on an increasingly violent rampage).