This Armond and Dylan situation made me uncomfortable. The whole thing felt very rapey, inappropriate and creepy. Armond coerced Dylan into having sex and had to drugged him first. I don’t have a problem with them hooking up but it's very obvious Armond is in a position of power and took advantage. And if he did the exact same thing to a young female employee, Twitter would have been on fire because it's inappropriate to joke about such things. I'm surprised this isn't being talked about more.
Shane and his mom chanting "money money money!" at the dinner table. :laughing: Shane’s mom is right about nonprofit jobs. Did Rachel and Shane have a 10 minutes conversation before getting married? It seems like Rachel is surprised the person she married is such an obnoxious, terrible human being.
It's really hard to say who is the worst person in this series. Like, reaaally hard. :thinking:
Alicia Vikander is striking,stunning and just so mesmerizing to watch.She is stealing the show here ; every other character(well 2?) seems to fade in ever so contrasting backdrop ; just speechless !!!
boring so far. I'll give another 2 episodes a try.
Sometimes it's hard to remember that our real lives are distinct and separate from our online lives. Take it from some guy who enjoys his "likes" and hits from writing reviews more than he'd sometimes care to admit, it's all too easy to become consumed in our online presence to the point that we forget about our lives away from screens, away from the things that give us meaning and insight and the inspiration to post anything to social media.
Which is why I think I'm okay with the tack "Skank Hunt" takes. (Now that's not sentence I ever expected to write.) Look, online bullying driving people to suicide is a legitimate issue, and even if it's not widespread, making it the source of fun admittedly makes me a little uneasy. And yet, I think it's in service of that point, that kids and adults alike treat their online personas as their entire being, and that we as a culture and a society overinflate the importance of the digital part of our lives. The grave, faux-solemnity with which South Park treats the idea of someone quitting Twitter is not, in my estimation, an attempt to make fun of people driven to suicide (though it's certainly meant to be envelope pushing as the show always is), but rather an attempt to make fun of how big a deal we make over something as slight as social media in the first place, to where quitting Twitter or Facebook or god help us, Trakt, can be treated as such a cataclysmic event.
This is as good a time to mention that one of the ways South Park achieves this is in "Skank Hunt" is with some unexpectedly good design work, music, and cinematography. Even in it's construction paper cut out days, the show had a certain visual experimentalist quality to it. But in "Skank Hunt," the show goes a step further to drive home the faux-magnitude of what's taking place, whether it's the pan up to the sky as a little girl drops her phone into the river, or the leering shadow of Gerald as he wages war against a Scandavian olympic athlete, or the slow shots of what looks like a massacre as the South Park Elementary girls deliver break up letter after break up letter to the boys. This episode did a great job of using the "camera" of this still semi-crudely animated show to help convey mood and heighten the feeling of these scenes.
Throw in a ridiculous sequence sent to a Boston tune that subs Gerald's typing for tickling the ivories, a similarly goofy sequence of Gerald celebrating his notoriety to the silly strains of "Steal My Sunshine," and the swelling music that back the break up sequence, and you have a show that's using more than just its superb writing and bent premises to make its impact.
But the story and themes are still the core of Skank Hunt. The seriousness with which everyone treats a classmate quitting Twitter leads to the interesting point about the outsized importance we place on social media, but also does a nice job of driving the story, from leading the boys to kill Cartman...'s online presence, in a series of scenes the show mostly plays straight to hilarious effect. The story between Mr. Mackey and Scott Malkinson (who we haven't seen in forever) is South Park's humor at its darkest. Well, maybe not its darkest (see: Scott Tenerman), but still, only a show like this one could wring the humor in a beleaguered guidance counselor growing tired of comforting his "suicidal" student and wishing that he would (more or less) just off himself already. It's hard to call it well-observed exactly, but there's the germ of humanity in the scene to someone becoming strained even with one of the most noble duties there is, in classic exaggerated South Park fashion.
And then there's Gerald himself, who in a Heisenberg-esque twist, is enjoying his double life as a troll too much to avoid dropping hints to his wife and son. There's commentary in his role in the episode as well, with once again, everyone in South Park, from the children to adults, treating something as ridiculous as an anonymous person on the internet spewing profanity and photoshopping lewd images with such seriousness. That seriousness seems particularly interesting in contrast to how Gerald is just doing it to "stir the pot," because he thinks it's funny. There's a disparity between how the rest of the world responds to this, and Gerald's less than grandiose reasons for it. It's clear that he's just doing this for the fun of it, and also for the notoreity of it, and that by taking trolling so seriously, the people of South Park are actually just enabling and encouraging him.
There's more to unpack here, from the idea of collective guilt and collective punishment, to the continued presence of the member berries, to the promise of more storylines in the future stemming from Cartman's wrongful "death," and Gerald's attempt to troll the untrollable. But on the whole, "Skank Hunt" is an episode about how easy it is to treat our online lives with the utmost importance, and treat anything that impugnes them like a horrid, deplorable attack on our very being, when neither our silly online posts, nor the dumb screeds that they may engender in response, deserve that level of attention, importance, or concern.
We drive towards the end of TV's most thrillingly honest and emotionally deep show and finally see if Bojack's character arc meant anything. This show has been utterly wonderful and frequently moving.
Fuck. BoJack can’t let the attention go he just goes in for more… like an addict. This shit’s about to blow up in his face with huge consequences.
[9.4/10] A good mystery has to do a lot to be, well, good. It has to have a satisfying answer to the “whodunnit” question. But that answer can’t be too predictable or the audience won’t have the thrill of following along. But it also can’t be too out of left field or it will feel like a cheat. So any mystery writer has to balance including enough setups and clues to where the payoff feel earned, but so many that the solution feels obvious or pre-ordained.
But there should also be something more at the heart of the mystery than just the answer to who the killer is. The answer should reveal something deeper about the story, about its major players, about the why and the who behind the mystery. In short, there should be...well...a good donut hole inside the smaller donut inside the larger donut.
Knives Out does it all with flying colors. Its mystery succeeds like clockwork. Writer-director Rian Johnson (of The Last Jedi fame) sets up every little detail to perfection. He lays out his suspects and their motives, establishes the victim and the investigators, and doles out subtle hints at just the right intervals to keep the audience guessing, but informed enough to craft their own theories and follow along.
But he also imbues all that mystery machinery with a larger theme that meshes perfectly with the ecosystem and the family he’s created. On a pure story level, that comes down to rewarding the person who works hard, who acts with kindness and altruism even when it could rip their lives apart, while the people who claim to be her betters are a hypocritical bunch who were born on third base and think they’ve hit a triple. But on a social level, it’s about the same hypocrisy in how we treat immigrants, in how people of every persuasion treat someone they think they’re above, how that treatment shifts markedly when it conflicts with their self-interest, and how that immigrant’s hard work, decency, and above all selflessness makes her more worthy than all the scratching, clawing simps she’s father above than she realizes.
But rather than devolving into didactic sequences to communicate these ideas, Johnson does it all with style and with good humor. Even for a murder mystery that mostly occurs within a single house, Johnson, cinematographer Steve Yedlin, and their superb team bring so much visual flair to the picture. Even before anyone’s said a word, the autumnal feel of the piece and the august old manor establish a sense of tone and place within the world of Knives Out.
Once the movie kicks into gear, that aesthetic virtuosity remains. Johnson and Yedlin set up any number of Wes Anderson-esque tableaus, arranging all the major players in a series of expressive group shots. The scene where the Thrombeys descend on Marta conveys the overwhelming chaos of the scene by switching to steadicam and putting us into the suddenly jostled world that the poor girl’s been thrust into. And the sequence where a faux-affable Walt all but advances on Marta, with the thump of his cane and his first tightening around its handle, communicates the intimidation at play.
Despite those moments of fear, and the tension that permeates the film almost from the jump, Knives Out is a rollicking good time. For as much as the movie is a taut mystery and broader sociopolitical commentary, it’s also an eminently fun laugh riot. Johnson knows when to puncture the tension with a big laugh, and bolstered by Daniel Craig’s performance of a colorful Hercule Poirot by way of Frank Underwood, he’s able to make his characters poignant, menacing, or hilarious on a dime.
But he also knows how to deploy them nigh-perfectly in his well-crafted whodunnit. Johnson and company structure and pace their film brilliantly. The opening act lulls you into thinking you know who the obvious suspects and likely motives for the murder of the Thrombey patriarch are. But then he turns the mystery on its ear, showing the audience exactly, and in elegant detail, how he died and who killed him. The opening police interviews turn out to just be a smart way to introduce these characters and establish their place within Harlan Thrombey’s world.
From there, we follow the tension of the knowledge that Marta is the murderer, but also enlisted to help Benoit Blanc discoverer who the murderer is. The devices that Johnson uses in that effort -- Marta’s lie-related nausea, Harlan’s mystery novel-writer expertise in fooling the authorities, the extra question of who hired Blanc -- all heighten the fun and the twisty excitement as the case progresses. This is, laudably, Marta’s story, and the way her position change, from bystander to inadvertent murderer to overwhelmed patsy to triumphant hero, is aided by the different ways the mystery bends around her.
But the most striking of all if the way that both friend and foe turn against her once it’s revealed that she stands to inherit Harlan’s entire estate. Even including the intricately-crafted mystery, it’s Knives Out best twist. Johnson spends so much of the first act accounting for the different ways the various Thrombeys treat Marta, from dismissive to patronizing to seemingly embracing and understanding. But the second that her financial interest seems to run counter to theirs, every one of them, even and especially the ones who seemed to be decent and kind to her, immediately view her as an interloper denying them of what’s rightfully theirs.
That’s powerful. Johnson and his team build a mystery that unfolds spectacularly, with twists and turns to keep the viewer on the edge of their seat, small clues that add up to big reveals, and variations on the usual form that make it both thrilling and seamless. And yet, it’s biggest strength lies in what the answers to the mystery novel questions Knives Out asks say about the answers to the societal questions it asks in kind.
Johnson’s film is populated with people who believe they are self-made, who built themselves from the ground up, but who are (with one notable exception), entirely hangers on to someone who truly rose to the top of his field through hard work. It’s that kind soul who recognizes his equal and successor not in the slew of self-siding progeny jockeying for position against one another (whom he “cuts loose” to wean them of their dependency), but in the one person they all consider themselves better-than. The Thrombey’s all think themselves superior by dint of birth and by right, but it’s the young woman who, through the good character, industriousness, and decency none of them possesses, proves herself smarter and more worthy than any of them to inherit his fortune, and his legacy. And that makes for one hell of a mystery.
3 Thoughts After Watching ‘Jojo Rabbit’:
Simultaneously heartbreaking and beautiful. I’m in awe of this film. I did :asterisk_symbol:not:asterisk_symbol: expect it to go as dark as it did. Absolutely phenomenal work by Taika Waititi. Scarlett was fantastic as well.
The child actors did such an incredible job. Roman Griffin Davis (Jojo) and Archie Yates (Yorki) knocked it out of the park!
The tying of the shoes. Broke. My. Heart. Oh, but the dancing. We should all be dancing more.
Don't miss it!
The goof shows up at about 18:54 for me -- freeze your screen just after the guards shout "Destroy it!" and then look on the far left of the screen to spot what looks like a crew member in gray T-shirt, jeans and with a very visible dark watch on his wrist, flattening himself against the wall.
Just when you think the writers can't pull anything on us cause we're so good a picking the plot twists in this shoe they simply do it again!! I do wonder what the season would've looked like if there was no covid and all the other bad stuff in 2020. Then again it makes for some serious reality check up and the way they look at things. Giving the audience a different perspective. Can't wait to see what happens next
Phil, I can understand caving for the marriage and now trying to cater to Melissa... but NOT THE BEARD!! Say it ain't so!
Sometimes shows need episodes that are simply set up. I feel like this episode was part 1 to a two episode story. But the dynamic between Pascal and Bella carried me through, needed episode for the character development. It was a nice touch of realism that they explain Joel's bad hearing on the fact that he’s shot a lot of guns over the years, without ear protection.
As someone who hasn’t played the games or know much backstory, the quick jump in this episode to Kathleen interrogating the doctor about Henry threw me off. I thought I missed some scenes.
I find the show to be entertaining. But it isn’t anything groundbreaking. Some of the hype for it seems overblown because it feels like many other post apocalyptic shows/movies.
I'm actually surprised that the blue guy survived this episode.
For those of us who remember the originals, we can breath a sigh of relief because the basic heart and soul of those still beats in the third outing of this trilogy. Yes Keanu, sans the John Wick beard, is just starting to show his age, and at times is just mimicking what the fans expect of this character, but, thankfully, he isn't phoning it in just yet. Amazingly, Alex Winter seems even more enthused than his arguably more successful (at least of late) partner in time, and seems to be having a blast just chilling with the old gang. William Sadler is as hysterical as ever, playing Death, who has been exiled from the band and injunctioned from even using the name, because of his 40 minute experimental bass solos, and, the make-up scene between him and the two front men is worth the time it takes to finally get there.
There had to be a hook, besides a mindless rehash of the previous two movies, and "Thea" Preston, and "Billie" Logan playing the oppositely named, female progeny of our intrepid hero's, provide that hook, as being raised by fathers tasked with, but never finishing, the EPIC song that would unite the world, have, in spite of outward appearances, somehow "rain manned" a Wikipedic knowledge and insight of all things melodic and musical. This comes in quite handy once their part of the story begins.
It is rumored that Samara Weaving holds no grudge toward Keanu Reeves for repeatedly killing her father, (Hugo Weaving) Agent Smith, in that OTHER Trilogy he made, nor at any time did she smirkingly call him..... MISTER ANDERSON,,,,,,
The ensuing RE-mash of the first two movies follows, with the daughters essentially retracing the journey of the first Bill and Ted movie, with the appropriate musical theme of course, while, the Dads jump time meeting future versions of themselves in the hopes of stealing "the SONG", from themselves, but discovering instead that perhaps living their mission focused lives, and repeatedly failing, caused them to miss out on all the great things in the one they were actually living. Also, they are now pursued by Rufus' daughters ex-boyfriend turned assassin robot, "Dennis Caleb McCoy'", sent by her Mother, Missus Rufus, and played with neurotic aplomb by Anthony Carrigan, in an inspired turn.
Fortunately, in the end, they do indeed get the band back together, and, as we are still here, (for now) the rest I guess, is history.
The best part of which will be said is they DIDN'T screw this one up!!
Wow, The Expanse developed into something much more than, just another space show. It's an epic adventure. I hope session 3 continues with the quality the first two seasons have provided.
What a disappointing movie. Sure it was quite enjoyable but to call it the best spiderman movie ever is an insult to those previous efforts. I understand that this spiderman is new and is not used to soaring the heights of New York City but something was missing. Tom Holland and Michael Keaton are both terrific actors, especially with Tom in that one scene in the warehouse, I could feel the pain the character was going through. But I felt as though lacked a lot of special moments, it didn't help that the score was very bland as are most marvel movies unfortunately. Nevertheless, I know the sequels will develop the spiderman character into the great one I know him to be. I'd still recommend this movie to anyone looking for a good time.
did an anti-vaxxer write this script or what
DELETE. DELETE. Delete those last two minutes. Nop nop nop nop, I don’t want it, I don’t care for it. I won’t settle for it. PLEASE GOD NO. Make it stop, undo it goddamn it
I liked it at the beginning, but now it is has become unbearable.
The baby is: a doll turned into a real baby? Leanne's baby? Someone else's baby? The dead Jericho resurrected by Leanne (like the dog)?
It's like nothing happens, every episode Dorothy goes to work, Leanne takes care of the "baby", Sean cooks something, Julian visits to conspire with Sean and they have dinners
The Good Place has the potential in it to be a really amazing, fun show. It completely ignores that potential, though, in favour of playing things as safe as possible. It's frustrating, because the show has a fantastic central concept and both Kristen Bell and Ted Danson have the ability to make anything they are involved in better.
It turns out that they are not quite enough, and Danson especially gives a distractingly odd performance throughout (reasons for this can be explained away, but it's so off putting). The humour is extremely hit and miss, although most episodes did manage to get one genuine laugh out of me. It's a show that desperately needs to be more risqué and have more adventurous storytelling. Every character beside the two leads are bland, poorly written and certainly poorly acted (Chidi and Tahani being the biggest culprits).
BUT. The show does something unexpected. It actually pushes the narrative forward instead of sticking to the same conceit every episode, giving us new storytelling avenues. By the end we get that genuinely unexpected twist that re-frames EVERYTHING we've seen so far, and actually makes the show's annoyances suddenly make sense in retrospect.
Even if that hadn't happened, there's something about The Good Place that made me want to keep watching. It's completely mediocre but has enough of a spark that it succeeds in standing out, and given how the first season ended it could go somewhere good.
Brilliant cinematography, brilliant soundtrack and a brilliant plot, this movie has everything going for it. The writing was steady and deliberate with every word and the film didn't make any mistakes in terms of dramatic idiosyncrasies; From the chekhov's gun of the punching bag to the repetitive drinking becoming a key element other than for character development. Everything was purposeful from the sets, to the costume design, to the sound. this is simply an exquisite film. Watch now
Damn I always liked Randall but i kinda hate him now, that ending though GAH!!!!
Tomorrow (or in 3 weeks) we’ll know if Trump’s being re-elected (or just says so) which is going to be the downfall of the USA. I still don’t get why so many Americans don’t see that, but well I’m from Germany - 87 years ago we had the beginning of our own. So who am I to judge :man_shrugging_tone2:
this episode was quite good, a fun adventure on navarro and some good revealtions towards the end
"There seems to be an error on this Report. It says they were flying a tank...?"
This movie was excellent. Highly recommend it to anyone who is a fan of the TV series and/or is an action movie fan.
Finally back to the good stuff. Not getting my hopes up tho season 5 started off great and went down hill with every episode.
Par-me-see-an
Well that robbery escalated quickly.
[8.8/10] I’m currently watching my fifth consecutive Spider-Man animated series. From the 1990s cartoon that I grew up on, to the Ultimate Spider-Man series that ended in 2017, Marvel and its licensees gave us five versions of the web-head in different forms. Some kept Spidey in New York, others sent him off into space. Some made him an untested kid in high school, others made him an accomplished young adult in college. Some narrowed Spidey’s world to a focused ecosystem of characters and conflicts and others expanded to encompass the whole of the Marvel universe.
But all of them starred Peter Parker as Spider-Man. And in the process of repeat adaptation, they can’t help but prompt the question -- what makes Spider-Man who he is? What is the connective tissue that makes all of these adaptations of a piece and recognizable as stories about the same character? Is it just the suit, or the web-slinging, or the quips, or is it something deeper than that?
Spider-Man: Into the Spider-Verse aims to answer that question with Miles Morales, the Afro-Latino teenager from Brooklyn who took over the Spider-Man mantle in the “Ultimate” line of Marvel comics. Miles shares some of Peter’s qualities -- he’s young, he’s bright, he’s uncertain. But he also has his unique elements: his two loving parents, his being torn between two sides of his family, and the different culture he is a part of and represents. He is familiar to anyone who’s followed the Spider-Man character for years and years in his endearing efforts to figure out both his normal life and his superheroic one, and his youthful awkwardness and uncertainty at it, but he’s also distinct from the raft of Peter Parkers who’ve graced both the big and small screen in the last two decades.
And most importantly, this is his story. Into the Spider-Verse uses its combo-breaking protagonist and its parallel universe-hopping plot to ask the broader question of what makes a Spider-Man (or -Gwen or -Ham). But it is first and foremost a story about a young man being pulled in two different directions by the father he loves and the uncle he admires, about resolving the differences between the place that can help lift him up and the place he came from, about figuring out not just who Spider-Man is, but who you are, when everything’s counting on you.
Strip away the spidey-sense and supervillains. Strip away the interuniversal mashup and the flash and fury. At heart, Into the Spider-Verse is a coming of age tale for arguably the most compelling young protagonist the superhero genre has offered in a long time. And while it is yet another cape flick origin story -- something the film itself pokes fun at -- it has the smarts to make it much less about how a budding hero gets his superpowers, and much more about how a teenage boy decides who he wants to be.
That’s aided by the style of the film, which works in concert with the substance. The term “comic book movie” is thrown around willy-nilly to describe any cape movie (including by yours truly) but this is the first one to truly earn the designation. The entire film exudes the bumpy texture and tropes of the medium to firmly cement the movie as emerging, fully-formed, from the comic pages. It’s a tack that’s particularly effective when Miles gains his spider powers, and the prominence of thought bubbles and whirly onomatopoeia take over to cement the fact that something serious has shifted here. Honestly, you could halt the movie at around the half hour mark and still have a tidy and encouraging tale about Miles discovering his abilities that would work as its own thing and leave you hungry for more.
But that would deprive us of the ensuing hour of superheroic flash and fun. Into the Spider-Verse is a joy to watch, with kinetic, color-bursting action that captures the ebb and flow of Spider-Man’s balletic grace through the skies better than any adaptation to date. The stylized approach to character design and animation gives the whole movie a distinctive flavor from the first glance to the final scene. And the way the movie blends art styles to help connote the ways in which this is a crossover between Spider Men and Women from across the multiverse is funny and fantastic.
The films boasts almost as many web-heads per capita as a Spidey-themed Where’s Waldo book, but it works in the movie’s favor. Whether it’s the black and white stylings of Spider-Man Noir, the anime-influenced presence of Peni Parker, or the Looney Tunes-aping insanity of Spider-Man, one look at the horde of Spider-people on screen tells you what’s afoot.
At the same time, the film sketches out its supporting characters with complete arcs. A spider-powered Gwen stacy has tentative but inevitable romantic chemistry with Miles, but is a capable and vital part of the action, and slowly overcomes her reluctance to build friendships after what happened in her home universe. At the same time, an older Peter Parker from another world joins the fray to give us the “after” of the traditional Spider-Man to Miles’s “before.” There’s real juice in seeing a potbellied, battle-weary, and cynical Spider-Man being forced to rediscover his ideals through the eyes of someone who looks up to him (or, at least, a version of him), and needs him as a mentor. And the way the film not only reconstructs one Spider-Man in the background while it’s building up another for the first time, while baking in a story of growing comfortable with having children, is nigh-masterful.
But in the end, apart from the eye-catching art and dimension-spanning guest stars, Into the Spider-Verse is about Miles, and that’s where it’s the most engrossing. The film constantly draws a contrast between the life Mile’s policeman father wants for him, and the rougher-edged existence his black sheep Uncle has cut out for himself, with the freedom and style that Miles envies while trapped in his midtown magnet school existence. It depicts Miles as inherently uncertain, before and after he has the ability to stick to walls. He is undeniably capable of great things, something his family members and reluctant mentors all agree on. But he doesn't know what shape that’s supposed to take, how to be what he’s expected to be or who he means to be.
Then, through heart-rending but heartening trial and tragedy, he finds out. Into the Spider-Verse signposts it a little too heavily for my tastes, but with the encouragement of his uncle, the acceptance of his father, Miles finds his own path, his own style, that’s the true-to-oneself harmonization of the best that’s been passed on to him, from man and Spider-Man alike. He has his father’s inherent goodness and sense of doing what’s right, with his uncle’s talent for improvisation and determination, and his own creative spark that drives him to put his own signature on each move and choice he makes. The best part of Into the Spider-Verse comes not only from when our hero truly becomes Spider-Man; it comes from when he fully and firmly becomes confident, caring, self-actualized Miles Morales he wants to be.
With that, Into the Spider-Verse answers its animating question. In a preemptive strike against those who would claim that someone who doesn't share Peter Parker’s name, or his skin color, cannot be Spider-Man, it posits that the things that made the character so indelible through fifty years of stories go beyond moniquers or melanin. Through Miles’s journey, and his other universe counterparts, it declares that being Spider-Man requires facing down tragedy and knowing the pain of loss but having it embolden you toward justice rather than driving you to madness and cruelty like it does for the film’s villains. It means learning to trust yourself and what you’re capable of even when that tentativeness and uncertainty hangs over you like a cloud that you just have to thwip or leap your way through.
And most of all, persevering, getting up when you’re knocked down, and deciding not to quit. Time again, Miles is pushed back, beaten down, and all-around inclined to just give up. It’s the quality that inspires the most doubt, in his father, in his wall-crawling colleagues, and in himself. But when he overcomes it, when he finds himself and learns to believe in his own potential, he also refuses to stay down.
That’s the central idea of Spider-Man: Into the Spider-Verse. The film was preceded by five decades’ worth of Spider-Man adaptations in scores of different mediums, and it will almost certainly be followed by five decades’ more. What unites these varying takes on the character, what makes them true and right and real despite their differences, is that indefatigable quality each of them shares, despite setting or style or sobriquet. And Miles Morales gives shape to that lesson, straining and striving to become Spider-Man, and becoming himself in the process.
3 Thoughts After Watching ‘I’m Thinking of Ending Things’:
I was beyond excited to see this after reading the book — a book that kept me on edge and creeped out the entire time. The ending was wild and left a lot up for interpretation. I was hoping the film would address so many of my questions. Instead, it became something I ultimately didn’t even care about. An awful adaptation.
The insight I had from the book kept me watching the film. I can’t even comprehend how ANYONE who didn’t read the book could make it all the way through, let alone understand how everything was connected.
The best parts of the book (yes, I can’t help but keep comparing) were the horror elements. These were completely removed. I’m all for a reimagining, but for the better. There was so much potential here. And with incredible talent. All lost.
I found it surprising the lack of comments around here mentioning the single most awesome thing to have come out of this show, yet: Butcher holding a super baby and using the little dude as a weapon to inflict massive gory damage upon his attackers. Both totally bonkers and superb!
