What'cha watchin' ?

[Matt]

The less said about THE SHINING mini series, the better. That was an abomination to mankind.

[Abraham Smashington]

Your opinions on anything can no longer be trusted on the basis of the foregoing. Rerb's are seriously suspect as well. The TV adaptation of the Stand had NO redeeming qualities whatsoever. Every role was miscast, every part poorly acted. Utter and complete shit, much like the Shining TV series was. I wish they'd give Darabont a shot at making The Stand as a two part cinematic event. He seems to be the one who "gets" king the best.

FREWER WAS NOT MISCAST.

[Matt]

Jamie Sheridan was not miscast either. He was a great Randall Flagg.

Also, Miguel Ferrer is NEVER miscast.

[IggytheBorg]

Miguel Ferrer was too old for the part of Lloyd, who always struck me as a young punk. Great as he is, that's not Miguel. He can't help but seem at least a little sophisticated. It's in his nature. And Sheridan was TERRIBLE as Randall Flagg. Flagg was a young, American Indian. Sheridan was neither. And I didn't find him the least bit menacing. he had no presence at all. Gary Sinise doesn't sound Texan to me. And. . . Molly fucking RINGWALD?

[Matt]

I've never read the book, so I had no casting baggage to carry into the mini series. What worked, worked.

[Abraham Smashington]

But we can all agree that Frewer was great, right? hahah.


and yeah, based on the book the series is fucking terrible. But like 99% of King adaptations sucks so it doesn't bother me.

[IggytheBorg]

The doofus from Coach as Tom Cullen was the only thing they got spot on. I think Max Headroom fucked up the part of Trashcan Man, too. he should have been all kinds of creepy and uncomfortable. He ended up being a cartoon. HATEHATEHATE

[Abraham Smashington]

MY LIFE FOOOORRR YOUUUUUUUUUUU

[Abraham Smashington]

American Horror Story this season is already proper fucked. That clown? nope. And Sarah Paulson with two heads is creepy.

[IggytheBorg]

Is that ^ meant to imply it's good, or does it suck?

[Captain Russ]

True Detective rewatch.

Still a great character-driven yarn that takes all of the components of the detective drama and grounds them with a wonderful dynamic relationship between two incredibly damaged people in an even more damaged world. That remains the strongest current that pulls one into the show. How there is at every corner of the frame some manifestation of dread permeating everything in the run time of each episode is a testament to the craftsmen behind the show. A huge part of this sort of feeling resonating so strongly is in the choice of music, both in tracks chosen and nondiegetic music.

The supernatural stuff really doesn't hold up to scrutiny, but it does make for a more disturbing profile of the landscape navigated by Hart and Cohle. The maelstrom at the end could easily be swept aside as a visual metaphor for Cohle's existential torment colliding with the synesthesia he experiences throughout the show.

The cult narrative is less important than what it stands for in the larger scheme of things: the corrupting nature of power and the perversion of the individual(s) who wields it.

Where it goes from here in series two is anybody's guess, but I certainly hope Nic the Pizzadude can carry it off for a second time.

On to my inaugural viewing of that sleazed out pop culture phenomenon from long ago:

Miami Vice.

[Captain Russ]

One thing that became a sort of running gag was the foley artist's insistence on using the sound of salad being chewed no matter what Hart was eating.

Even eating pasta sounded like the crunch of leafy greens, man.

Woody's mutant power? Who knows?

[B_Metal]

True Detective rewatch.

Still a great character-driven yarn that takes all of the components of the detective drama and grounds them with a wonderful dynamic relationship between two incredibly damaged people in an even more damaged world. That remains the strongest current that pulls one into the show. How there is at every corner of the frame some manifestation of dread permeating everything in the run time of each episode is a testament to the craftsmen behind the show. A huge part of this sort of feeling resonating so strongly is in the choice of music, both in tracks chosen and nondiegetic music.

The supernatural stuff really doesn't hold up to scrutiny, but it does make for a more disturbing profile of the landscape navigated by Hart and Cohle. The maelstrom at the end could easily be swept aside as a visual metaphor for Cohle's existential torment colliding with the synesthesia he experiences throughout the show.

The cult narrative is less important than what it stands for in the larger scheme of things: the corrupting nature of power and the perversion of the individual(s) who wields it.

Where it goes from here in series two is anybody's guess, but I certainly hope Nic the Pizzadude can carry it off for a second time.

On to my inaugural viewing of that sleazed out pop culture phenomenon from long ago:

Miami Vice.

My man Russ with the correctness.

[Abraham Smashington]

Is that ^ meant to imply it's good, or does it suck?

Can't decide yet. It started off a bit slow but I dig the concept so far.

[B_Metal]

Dem beard sparkles though.....