I unironically listen to a lot of pre-WW2 jazz and pre-outlaw country, and acoustic country blues. It's great. Seriously, seriously great. Obviously the very very very best is what's been preserved and referenced, through all this time, but that just makes it easier to curate and enjoy.
I love your review but you're in the wrong thread. This is the non movie thread.
I've heard nothing but praise from critics, but personally I dragged myself into maybe two episodes before I found my lack of empathy for these characters too exhausting. If the show has a protagonist or a plot I could not fathom it. Everyone was just kind of awful and out of touch.
I'm still with it, but with the revelation at the end of season 2 I need to start seeing some traction on an ending. I don't think I could sit through another season of mystery boxes. Like Season 3 needs to end with a direction for season 4 to end the show. I think the pieces are there.
I'm not upset with the show, just gun-shy since Lost so infamously spent so much of its time spinning its web of intrigue just to admit it had nowhere left to go with its finale, and so far, From seems to be doing the exact same thing. I can't begin to imagine a satisfactory ending that ties up all the loose ends it's dangling about. Like when the busload of new people show up, it just felt like instead of delving into the guts of what they already had, they just threw more shit onto the bonfire because very little distracts your focus than more things to have to focus on. I'll see it through, but my expectations are low. And that doesn't mean I expect to be unsatisfied, just that I don't expect an ending that feels as compelling as the start.
They've been dangling some clear threads that A. everything bad happening come from the nightmares of the people. B. That something happened to create the place that involves a group of kids.
Found myself agreeing with most of that. I can't comment on Ghost Protocol, but Ethan's characterization from Rogue Nation to Dead Reckoning is pretty consistent in terms of his moral compass, and the idea of his life costing him everything. Which isn't the deepest characterization in the world, but it's certainly a more consistent one.
If this happened in the mid 90s, people would have bitched even more about it being in-name only to the show. Me personally, I am fine with the way MI2 came to be, but it does suck so much bullshit happened behind the scenes.
MI2 is the DMC2 of the franchise, except the former is actually fun and not a boring slog where almost nothing happens. Or for more apt comparison, MI2 is the Metal Gear Rising in the franchise that came in too early.
Well, yeah, if MI: 2 was the first MI film released, fans of the original series would be miffed. Heck, that Phelps was made a villain in the first film pissed a no. of original series fans off, and while I've never seen the TV series, it isn't hard to understand why the animus exists.
Too early...as opposed to when? Because assuming you're keeping MI: 2 as is, sans a shift in timeline placement, I really can't see that working so well (try placing MI2 Ethan after the Ethan of the recent films). Ethan's personality has gone one way over the course of the films, and it's about as far from MI2 as you can get.
You know, if hypothetically, MGR immediately happened after MGS2 and not after MGS4. Keep in mind, for as over-the-top MG started getting around MGS2, it was still somewhat grounded. The jump from MGS2 to MGR within a small time frame would have had many fanboys flip their shit. Even when MGR actually was announced and revamped into a stylish action game, I still remember some fans bitching over like they lost something. I get where they were coming from, but if Kojima couldn't get the original concept to work and went to Platinum to make the game, then there was nothing else he could. Can't blame him. Of course, when the actual game out, a majority of them decided to stop crying and have fun.
