It was originally supposed to be an anthology, with different characters and stories each season, but the Netflix suits changed that.
I feel like they’re may be an overarching plot that was put in place early on, but the details never seemed to come together for me. Just the same thing over and over and over, trying (and for me failing) to up the stakes each time.
damn, that could have been so good. a series of unusual mysteries and sci-fi stories, all subtly linked to the central macguffin laboratory, or whatever government conspiracy is “behind the whole thing”.
they already have a whole alternate dimension to play with, so it doesn’t need to be contained to a single midwest town. they could set seasons in any part of the world, and make it a huge web, with a hyper local focus with new casts.
the more I think about it, the worse it gets; they had a perfect setup and didn’t go for it.
I was really excited for the anthology angle. The first season ended and I thought, like with love death and robots, if they could pull off that quality with a series of mostly unrelated supernatural stories they’d be filling a massive need I feel completely unsatisfied in.
Then season 2 came and honestly it never resonated with me the same way. I think television and movie folk struggle immensely with world building right now and that tends to reveal itself the longer an IP goes on. You meet the father, or the unique monster was actually one of many and now there’s a more powerful version but it’s red or something, or actually this new character was behind the whole thing, or what have you.
I wish they’d spend at least a 10th of what they spend on actors on writers. Like you know doomsday’s writers are getting paid 1/100th of what RDJ is getting paid. Star wars can’t even afford a writer it seems. Money and success should scale with all departments but it seems to me some of the most meaningful departments get shafted in lieu of fat returns for the owners.
But you see, we can us AI to rehash old plots, use the money we saved on writers to make either bigger booms, or fatter stocks. Hopefully both. Like Bo Burham said years ago,“art is dead”.
yea she went o botox hard, its only going to backfire since botox will atrophy the muscles from lack of use, and she would have to continually get more.
They had one story to tell, and tried retelling it 4 more times.
It was originally supposed to be an anthology, with different characters and stories each season, but the Netflix suits changed that.
I feel like they’re may be an overarching plot that was put in place early on, but the details never seemed to come together for me. Just the same thing over and over and over, trying (and for me failing) to up the stakes each time.
damn, that could have been so good. a series of unusual mysteries and sci-fi stories, all subtly linked to the central macguffin laboratory, or whatever government conspiracy is “behind the whole thing”.
they already have a whole alternate dimension to play with, so it doesn’t need to be contained to a single midwest town. they could set seasons in any part of the world, and make it a huge web, with a hyper local focus with new casts.
the more I think about it, the worse it gets; they had a perfect setup and didn’t go for it.
I was really excited for the anthology angle. The first season ended and I thought, like with love death and robots, if they could pull off that quality with a series of mostly unrelated supernatural stories they’d be filling a massive need I feel completely unsatisfied in.
Then season 2 came and honestly it never resonated with me the same way. I think television and movie folk struggle immensely with world building right now and that tends to reveal itself the longer an IP goes on. You meet the father, or the unique monster was actually one of many and now there’s a more powerful version but it’s red or something, or actually this new character was behind the whole thing, or what have you.
I wish they’d spend at least a 10th of what they spend on actors on writers. Like you know doomsday’s writers are getting paid 1/100th of what RDJ is getting paid. Star wars can’t even afford a writer it seems. Money and success should scale with all departments but it seems to me some of the most meaningful departments get shafted in lieu of fat returns for the owners.
But you see, we can us AI to rehash old plots, use the money we saved on writers to make either bigger booms, or fatter stocks. Hopefully both. Like Bo Burham said years ago,“art is dead”.
and millie brown became a meme, because her lack of facial expression from all that botox. basically it became AOT series.
It’s insane that child has ANY work done. Fucking insane.
(I know she’s not literally a child anymore, but she does not have adult cosmetic surgery needs…)
yea she went o botox hard, its only going to backfire since botox will atrophy the muscles from lack of use, and she would have to continually get more.
Imo it already backfired. It already looks bad. I don’t mean to be mean, it just looks so unnatural.