What an amazing and beautiful cast this was.
An over-the-top combination of violent slapstick and the most miserable of British humour.
It takes a handful of sturdy, reliable sitcom tropes and twists them into near-unrecognizability. The entire cast is brilliant, the writing is excellent, and Roisin Conaty's blind enthusiasm brilliantly offsets the rest of the show. Even with a rocky first episode, I couldn't recommend this strongly enough.
You expect the Tick to be a bit weird, and I'm glad they updated the weirdness. Cartoony jokes, side-by-side with subtle running gags and callbacks, mixed with serious character development, gives this a feeling that is as awkward and unbalanced as it is engaging and hilarious.
The first two series were superheroes comedies for the time of cheap cartoons, Tim Burton's Batman, and Dark Age comics. This is the superhero comedy for the time of Zack Snyder, Chris Nolan's Batman, and 20+ spaghetti-tangled MCU movies.
As much as I enjoyed this, it was probably the right call to make this the last season. Seasons 3-6 where perfect and so was most of this one, but weaker filler episodes started creeping in. Still, it was a lot more good than bad, and I really loved the final episode.
This season is the awkward transition from a half-horror show about isolation, hopelessness, and hatred, into something a little less bleak, and more adventure/concept-oriented. This includes a horrible redesign of the set, a stupid new intro sequence that replaced the iconic original, and the crew suddenly remembering that they have an undisclosed number of large shuttles, most of which are destroyed over the course of the season. Also, Kryten becomes a regular - it's hard to image the show without him - and the show starts its hilarious tradition of shrugging off cliffhangers.
"Marooned" (more old-Red Dwarf style) and "Timeslides" (more new-Red Dwarf style) are as good as anything the show has ever done. The rest of the episodes are a bit weak and gimmicky, but, on the other hand, how could you not love female Holly? Or the rewind gags? Or Alphabetti Spaghetti? In spite of being a bit of a low point for the show, they manage to slip in some of the greatest sitcom moments of all time into the worst episodes.
Americans and Canadians can't do comedy panel shows. Even if they are extremely funny comedians, they are always awful on a panel compared to Brits and Aussies and Irish. The South Africans and Kiwis that occasionally pop up on Have You Been Paying Attention are better on panel shows than Katherine Ryan has ever been. I don't know why. I don't know what deep cultural differences cause North Americans to be totally non-functional on one specific type of TV show.
Once in a while they try to make an American panel show. Sometimes they'll try to sweeten the pot by shoving some successful panel show regulars from British TV on, but it never works. The Fix wasn't as big a train wreck as this, but it wasn't consistently good and I wouldn't recommend it.
This was a bit weak, but it shows potential, especially the last two episodes. It's not as good as season one of Futurama, but better than, say, season one of the Simpsons. I'm not going to wholeheartedly recommend this, but I'll definitely watch season two.
Every second of this was beautiful.
- I completely forgot about Slashdot, which used to be a huge deal. It still exists, and gets a fair number of comments. Here's a new article about Clippy.
- Hit the Wikipedia random button, got a neato demon. Tried to find more demons, very disappointed.
- Suburb full of castles
- One of Jim Henson and Frank Oz's early works as The La Choy Dragon.
- 800 million emails hacked and leaked online. What a crappy company.
Wow! I don't normally binge watch, but the end of every episode was just so hilarious and/or suspenseful. There's not much I can say without spoiling anything, but in point form:
- It remains a superhero show that is a also a comedy, but not a parody (except for a few fun jabs at Superman and Watchmen this season). As a superhero show, I find it better than any of the other superhero series I've seen, which tend to be slow-paced and self-serious. As a comedy, its sense of humour is totally unique, and a good mix of blatantly silly and understated.
- Last season handled origin stories better than a lot of good, mainstream superhero shows. Ms. Lint, in this season and the last, is a more interesting villain than in most of the villains in MCU movies.
- In spite of not a having a huge part, this is maybe the masterpiece of John Hodgman's weird acting career.
Before having a daytime talk show, Ellen was one of the best stand-up comedians out there. On this 68-minute Netflix comedy special, she actually manages to remember to do an entire 14 minutes of good stand up in between her Gelman-and-Cody-are-doing-great personal life fan updates. I'm happy to see Ellen be successful, and I'm happy to see her having fun, but I just can't dig the weird obsessive fan ego-feeding relationship, or the gigantic Oprah head she's developed as a result.
A four-part documentary where an art critic discusses the importance of context in fine art. Cynical, but in a very specific and focused way, and with insights that are interesting and occasionally frightening. Also, very groovy 70s aesthetics.
In last part he discusses the psychology of advertizing. Some footage of Jimmy Savile pops up for half a second, as well as a picture of an ad featuring Rolf Harris, which is pretty jarring and unintentionally drives the episode's point home in odd, unexpected ways.
I think it's tacky to review something when I'm obviously so far out of the intended target demo. I don't want to be like some wilfully-naive critic who complains that an action movie isn't a nuanced drama, or that a comedy isn't a nuanced drama, or that a children's movie isn't a nuanced drama, etc., etc., etc..
On the other hand, the marketing went after Bojack Horseman fans, heavily referenced its behind-the-scenes connections with Bojack, and did not let on, in the slightest, how different a show this was, so I'm sure I'm not the only person to have accidentally watched this.
It's supposed to be the trials and tribulations of two female friends in the city, but there's not much character development and the jokes are so-so. Every frame looks like it was designed to sell "Live Laugh Love" merchandise. I wouldn't be surprised if Facebook starts getting flooded with Bertie and Tuca memes about which diseases vaccinations cause.
A lot of hype was made over multi-ethnic casting. And wow, all the Asians play meek, work-driven geeks and the Black actress plays a sassy idiot who digs through and is covered in garbage. This is a show made by an affluent white woman with the obvious target demo of affluent white women who say "I'm not racist but..."
- A person with a sense of humour made a CSS-only chat room.
- Yakety Sax on ocarina and beatbox.
- More new Seanbaby: weird movie plots about brutalizing disabled villains.
- Webcomic genius Abby Howard seems to have given up making free content in favour of writing beautifully-illustrated childrens' books, but she did do us the kindness of posting a bunch of old, excellent comics that were previously only available in an anthology.
- It turns out there actually is a difference between F() and F(void) in C.
- Manchurian, coming from an otherwise-obscure language family, for hundreds of years coexisted with Chinese as the language of government in China (see picture), and still can be seen all over the Forbidden City. Today it is on the verge of extinction, spoken by only about 20 people. Here's an 1892 book to teach yourself Manchu, including hypnotic English/Manchu dialogues.
Apparently they wanted to do something like 'Neo-Tokyo', or 'Heavy Metal', or 'Memories', but whatever weird cultural conditions that made those movies possible are long, long gone. Instead, this is very, very fancy CGI with writing that ranges from below-average to cringey. A lot of one-dimensional characters, a lot of jokes that don't land, a lot of extremely old science-fiction cliches exhumed and presented with as little enthusiasm as possible.
The constant attempts at edginess in 'Love, Death And Robots' are offset by the fact that all of the stories are older than Poodle Skirts. No amount of CGI titty is going to cover the fact that they're selling young people watered-down versions of stories that were written before sitcom married couples slept in separate beds.
I want to say that this is an example of style over substance, but those old anthologies managed to be cool in spite of or because of style over substance. Besides 'Love, Death and Robots' isn't really that stylish, in spite of the top-notch CGI. I kept going 'Wow, that CGI is marginally better than CGI from two years ago!', then getting quickly bored of scenes that were basically visually uninteresting. I have no idea what kind of decision-making process lead to such a poorly-executed project.