Sorry to hear that. Hope you get your money's worth if you sell your copy.
Like I predicted in OP, we don't agree at all and don't need to carry on the conversation save to note that you're wrong, and Shapes of midnight is a tedious, warmed over retread of the same old routine.
I've had no luck getting my hands on the yellow vinyl version (UK only, I believe), so when I found this one I pulled the trigger.
Honestly, this is the most interesting album they've made in a decade. Yes, it's an odd one with all the faked dialogue and "incidental music", but it suits the band. And if you don't like oddness, I'm afraid we won't have much of a conversation to begin with.
In the end, the real tools were the "AI" boosters and simps we made a long the way...
Yep, quick and easy way to get their brand new account reported/blocked.
Oh, regular. I imagine IMAX is even more overwhelming 😳
Watched it on Friday with the more kaiju loving of my kids 👍 We both liked it a lot, though the junior felt that particularly Godzilla's superfast regeneration during battle was a bit of a cheat. To be fair, that restorative superpower is a key plot point throughout the movie, but I agree that it makes things a little too easy.
The human characters have nothing but difficulties, on the other hand. And I enjoyed the scrappy ingenuity carrying over from Minus one. In the Hollywood wing of the franchise they'd have all of the armed forces mobilized and shouting tactical acronyms at each other within the first act. I like that there is less of a military perspective to this incarnation, even in the face of rather devastating destruction. Again, the post-WWII framing adds to the story!
And you feel the scale of both the monsters and the havoc they leave in their trail. I haven't had the chance to analyse the techniques, but I'd attribute it to direction, camera angles and perspective. The film feels much bigger than its Monsterverse cousins, but we know its special effects budget certainly wasn't, so my intuition tells me the sense of scale must be largely due to lo-fi cinematics, and all the more impressive for that. It's not the bloody kaiju battle in itself that is memorable, it's also the framing that feels like you're ringside for a visceral MMA match.
The human side of the story still revolves around the found family from the previous film. It strikes me, having rewatched Minus one just before this one, how much of their relationship is communicated through the character of little Akiko. Fortunately they have found a child actor who can fill that part without becoming saccharine. I may be getting old and sentimental, but she sold me on every scene she was in.
Some viewers will probably clamour for a third movie in the series, but I think these two stand pretty well on their own. We've had some interesting points about Japanese history play out through the perspective of massive kaiju destruction over two movies, let this take on Godzilla rest before the good stories get drowned out by more routine monster fare. Now, isn't it high time for a contemporary set movie with a fresh spin?
You're just making shit up. Slandering the dead isn't a good look, FYI.
The whole card shtick sounds kinda lame, but putting Armin Shimerman behind the bar is top level content 👍
...and with Annalee Newitz as editor in chief. This could be good!
I can't speak to US social media trends as I live in Europe. There is a certain overlap for sure, but I can't say I follow the online water cooler talk about current shows outside of this server. My critique was based only on watching the show.
You could have a point about changing audiences, and certainly about broadcasters lagging behind such changes. If the powers that be chase their own tail rather than connecting with the actual viewership, surely their shows suffer.
It surprises me a bit that Legacy of monsters reached beyond its target audience, though. It just doesn't feel very engaging to me. But I may be closer to the intended viewer rather than the people actually watching? Which again just emphasises the discrepancy between intent, expectation, and reality in terms of this show and its audience.
Posted only two days ago, only linking to Hillebrand's tenforward.social account rather than his blusskey one.
Ouch, weren't he and Tom Baker just promoting some new Sherlock Holmes audios?
Honestly, branching the cold war narrative out is probably the more obvious way to streamline the show. It can't be easy to juggle two plot lines, past and present, and have them reflect upon each other without becoming contrived and gimmicky.
But the late '50s part of the show feels more vital than the rest of the show, maybe for its heightened Indiana Jones feel. The bigger challenge IMO is to make the contemporary human characters seem relevant. Especially the twenty-something cast is given mostly filler to work with, against a backdrop of pretty dire kaiju fare.
Although I think that the best Godzilla movies have focused on human drama, I can genuinely understand if viewers of corresponding ages don't identify with Cate, Kentaro, and Corah. They're the biggest albatross around the show's neck, even given the Rodan appearances.
Type O Negative, "October Rust" (1996)
Bryan Fuller posted this on Instagram as a birthday greeting to Laurence Fishburne, back on July 30.
So apparently Fuller had intended to carry over the Hannibal cast into Discovery in various parts — and this was how he'd imagined Fishburne in Klingon prosthetics. It also suggests that the much maligned Disco Klingon designs were decided upon after Fuller left as (preliminary) show runner.
ETA: Here is a rundown of the casting plans he had in mind, originally revealed on the D-con chamber podcast. I would have watched Gillian Anderson as a starship captain.
It only took forever (well, from May until now) for this vinyl to become available in my local b&m record store... But holy hell, is it worth the wait! 🤘🤩
https://neurosis.bandcamp.com/album/an-undying-love-for-a-burning-world
