objective

MEDIA APPRECIATION DOES NOT WORK THAT WAY, GOOD NIGHT!

Black borders on white text please. I beg you.

I don’t believe I’ve ever let an RT score sway my decision to watch something. I sometimes forget RT exists until someone else brings it up.

If RT had any sway on me I wouldn’t have watched and loved Arena (1989), American Ninja (1975), Screamers (1995), Chopping Mall (1986), or Dead Heat (1988) just to name a few excellent viewing experiences.

Indeed. The RT scoring favors inoffensive, wide appeal over interesting but not-for-everyone movies.

People act like it’s some kind of dunk when a movie/show they like gets high rating, despite the often useless nature of critics and/or audiences at large to reflect individual taste.

First, we have to agree on what a plot hole is.

My definition of a plot hole in a story is something that simply can not happen given the existing rules of the story, or something which could only happen in an unexplained and if not literally impossible than at least so unlikely it is practically impossible way that defies everything else we know about the story.

This would be an item inexplicably jumping locations, a character having knowledge they could not possibly have, or a character or item being in two places at once. Things like that which gnarl the story.

What it isn’t: A character making a bad decision, a character acting unusual (even to the point of acting out of character- that can be bad writing, but not a plot hole), a character forgetting something, a plot contrivance, an unlikely coincidence, something being unrealistic but consistent within the context of the story.

I commonly see poorly written scenes, or scenes where someone thinks a character was acting irrationally, or scientific or legal or other plot points that are intentionally written to serve the story described as plot holes.

With that description, I’d say quite a great number of works of fiction don’t have plot holes.

Here’s my pitch: The story and aesthetic of Fraiser, the gameplay of FEAR.

I tried watching SWAT and found it tiring, since almost every episode ended in some kind of action set piece takedown. Done on a TV budget, those setpieces tended to be underwhelming. The show being in a theoretically realistic setting started to clash with the team getting in so many high profile gunfights.

I just don’t think the formula exactly works. There’s two directions it could go to be great. One, turn it into The Shield with some quality drama and running plots with heavy themes. Two, turn the city into a Robocop/Predator 2 type over the top hellscape with absurd overarmed gangs of cackling thugs roaming the streets, and acknowledge the absurdity of weekly giant gunfights by folding into the setting.

I doubt the show runners are brave enough or interested enough to do either.

So anyway, here’s a C4 snowman.

Things go differently in the current canon, but what you described was more or less what happened in the old EU. There was no line of succession or instructions for what happened if Palpatine died. His death, along with Vader and important central figures in the Empire in ROTJ left a lot of squabbling Moffs and Admirals of dubious levels of competence in control of splinters of the Empire.

It wasn’t until Thrawn that someone competent started consolidating Imperial forces again.

Here’s some Swiss graffiti.

Yes. It’s probably an even more interesting experience going in blind to the universe because you have no idea which characters are safe, or the bigger directions of certain plot points.

The Vice President’s brother!

It gets comical how the characters say that phrase so much instead of using his name, for audience benefit.

I appreciate each season changing things up with a different central conceit. As absurd as the Central American super prison and spy craft seasons were at least the show kept changing instead of spinning its wheels.

I am asking, sincerely, what they see in it and how they don’t get distracted by the gravely, old sounding voices. It is difficult to find these people.

You and @Geetnerd@lemmy.world are both right on the line for me to step in when it comes to personally insulting each other. You can disagree without belittling each other.

The OP specified canon comics already. The Vader and Doctor Aphra comics are in canon.

I suppose there is a business argument to be made, but I’m more curious about the audience perspective. Who are these 2 million viewers? What do they like about the show? Do many of them actually even care and rewatch new episodes or is it just background noise?

I don’t think this comic exactly applies; I’m not commenting about people not knowing some bit of trivia. Even if you didn’t grow up with the classic Simpsons, I don’t know how you can’t notice how old and stiff all the main cast sound. Marge sounds older than the voice acting for her mother in classic episodes.

My question is genuine when I ask who is watching these new episodes. Are they people who grew up with the classics who are somehow hanging on? Are they a new, younger audience? Either way, I don’t see what the appeal is. The older audience knows the classic episodes, and the younger audience seems to have many choices for animation that seem a lot more in step with them and without a distractingly aged main voicecast.

I don’t know who is still watching new episodes. Obviously someone, because the show keeps going, but I just don’t get it. Occasionally I see some youtuber say “Actually the show is good again.” and I check it out and never even get to thinking about the plot because all the voice acting is like a punch in the face. All the characters either sound distractingly old with their original voice actors or they sound totally wrong with new ones.

I actually think season 2 of Prison Break was a perfectly natural and well done (for the intended tone) continuation of the story. I know people snarkily point out the title doesn’t strictly apply anymore, but I think convicts on the run from a manhunt fits. The show was from the beginning always a political conspiracy thriller baked inside of a prison story anyway.

The following seasons get increasingly absurd, but they are enjoyable in a silly way.

While season 2 of The Mandalorian had the distinct flavor of introducing executive producer mandated spin-off hooks, I still found it quite good overall. The finale was the perfect ending to the Mando and child storyline.

The perfect ending. We didn’t need anymore after that ending.

Everything Mando related after that has gone totally off the rails by undoing that ending, and the show has become a parody of itself.