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Joined 1 year ago
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Cake day: July 8th, 2023

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  • The thing is that, depending on your tastes, there’s a good chance at least some of the new content will appeal to people, but I do absolutely understand getting that bad aftertaste every time you remember that it all leads canonically into those three movies and … nyeeeerrrrgghhh.

    By the way, it seems that even a good portion of the producers seem to at least partially share that feeling, which makes it doubly sad that disney is making almost everyone shoehorn in some hint of retroactively created foreshadowing with the goal of explaining that no, palps returning that way isn’t the ass-pull it obviously was at all, nuh-uh!


  • I wouldn’t necessarily say that they are not woke. If it maximises their returns, they will definitely do anything they think will get them the woke crowd’s money (see also the shoehorned lesbian kiss in ep9). They will also do their best to get the money of the anti-woke crowd (see also: removing the black man from posters; keeping the lesbian kiss contained to five easily cuttable seconds for certain releases).

    It’s more correct to not think of them as woke nor not woke, they are just whoring themselves out to whomever they believe they can get to bring them the largest amounts of money (see the company’s history of political donations).


  • You don’t see rushed straight relationships in Hollywood.

    You may want to sit down now, because if you like, I can gather a list of all movies whose script contains the line

    “and then the hero gets the girl despite there being no perceivable chemistry or other factors they have in common except him being the main character and her being The GirlTM in the movie. They kiss. The End.”







  • Lots of bizarre choices. Like when they track Osha in the snow via the force and not via her foot prints…?

    That particular choice is one I can absolutely understand: when you’re used to feeling your environment so much that it’s among your default senses, you might get used to having it always-on. Like when you track your quest goal on the minimap despite having footprints and visual clues visible in a game.

    What irked me more was the contrived stand-off when she split off from the party that was heading straight to Torbin. Did she want to beat them there? Why did she feel like she had to get there faster than the rest of the group [other than for the external reason that they had to find some contrived way to create the forced misunderstanding - which was pretty pointless anyway since it was resolved 20 seconds later, and added nothing but half a minute of runtime]).

    The writing is… serviceable. But it’s at a level I’ve come to expect from animated series aimed at a younger audience. It seems rather flat and a lot of it is just standing across each other and spewing exposition at their opposite, sometimes info they all already know, obviously just for the sake of the viewer.