Contentious C

I was daydreaming a bit at work earlier and realized there was one bona fide contender for Worst of the 90s that I have seen previously: Highlander II. But I haven't watched that in close to 20 years. I have a feeling that, if/when I revisit that, it still won't be as bad as this was, though.

Yep. More. More movies, more reviews, more you not caring. More B.S., one might even say. It's Day 424 (and counting) of...this, whatever this is, MORBIN'~! TIME~! EDITION~! Your Baby's Dirty Diaper Morbius - I give this pi out of 10 stars, plenty of morbing all over things but a decided lack of Morbin' Time. No, but seriously, yeah, this is terrible, but it's relatively garden-variety terrible than "noteworthy for its shittiness" awful. There's one stretch early on where Matt Smith & Jared Leto have one good scene of banter, and they also do a nice nod to Nosferatu with the ghost ship drifting off the coast that's called the Murnau, and if the rest of the movie had been as good as those two bits, this wouldn't have sucked. But no, everything else is straight trash: the CGI looks bad, the plot is all kinds of dumb and lazy and badly-written, and there's not really anyone to root for here, since Leto's romantic lead is clearly about 15 years too old for him. If anything draws particular scorn for its lack of quality, it's the action scenes, where they do stuff best reserved for a Superman vs. Shazam-level fight with a couple of C-list Marvel characters who shouldn't be damn near unkillable. I hope Sony lost their shirt. Every Thing Will Be Fine - Don't ask me why the title's written that way, just like you shouldn't ask me why anything else in this movie happened, like why Wim Wenders thought directing it this way would work, or why Rachel McAdams' accent is there for half the movie and gone for the rest. The interesting bits are over in the first ten minutes, and then you still have to sit through almost two more hours with an unlikable character portrayed by an unlikable actor with a director who insists on doing everything in his power to remind you that, yes, this is a movie and so, apparently, the camera should be the thing that moves, even when that constantly disrupts the flow of what's happening. Other movies have done the "Consequences of a Dead Kid" thing better, and this is almost an anti-Manchester by the Sea, where, instead of kids being sacrificed on the altar of advancing someone's character arc, the characters we meet here are so thoroughly uninteresting that there has to be a dead kid for anyone to give a rat's ass about them. Well, not me, I still don't care. Unforgivable Instance of Film Malpractice, Worst of the Nineties-Style Double Team - Oh man. Oh my FUCKING GOD. I really thought with all the garbage I've seen in the last year-plus that I couldn't be surprised anymore, but then I watched this infamous turkey. Now, don't get me wrong: this is *still* not as bad as The Crow: Wicked Prayer, because this movie manages to do exactly one thing well, and that's to make you sympathize with Mickey Rourke's character. If anyone knows how to elevate schlock, it's that guy, and for maybe 3 minutes or so, that's exactly what he does. But, every. single. other. thing. about. this. movie. is. putrid. Van Damme and Rodman seemingly had a bet going as to who could stink up a scene worse - and Van Damme usually won, strangely enough. The plot might be the worst, most idiotic, written-by-a-5-year-old-after-a-psilocybin-induced-fever-dream bunch of shit possible. And of course, you're not *supposed* to sympathize with Mickey Rourke, because he's the Big Bad! The stunts are some of the stupidest things possible (especially that fucking ending, what in the cream cheese fuck!?!?), the movie looks bad, it sounds bad, it just seems hell-bent on taking every possible stupid fucking decision it made and then trying to one-up it with the next one. If there was a worse movie released in theaters in the 1990s, I would love to know what it was. I haven't seen Ready to Rumble, but even that couldn't have been as bad as this. Welcome to Mount Flushmore, JCVD. AXE Body Spray Instead of Shower Out of the Fog - The recent Criterion showcase of James Wong Howe got my attention, since I've mentioned a few times that Hud is one of my favorite movies, and there's no doubt his cinematography is a big reason why I feel that way about it; it's a beautiful film and you should watch it yesterday. But this movie? Not quite so much. This was based on a play and allegedly is supposed to be about fascism, but I don't think that the material translates well, and I certainly don't think films of this style have aged worth a damn. It's got that stereotypical rapid-fire line delivery junk that went on in some movies of the era, and its depiction of women is, shall we say, hazardous at best. But there are a lot of familiar faces here, like Ida Lupino and Eddie Albert and Thomas Mitchell, and if nothing else, there are a handful of interesting motion shots - especially in the first few minutes - where you can see that Howe was doing some cool stuff even in films that were otherwise ham-fisted. Unfortunately, once you've seen the decent bits of visual style, you've run out of reasons to watch this. That'll Do, Pig Shining Victory - Another 1941 movie that Howe shot, one that's pretty different from Out of the Fog, and I would daresay less visually appealing, but a better film overall. I hadn't seen the lead guy in anything else, and if I ever do again, it'll be too soon, since he has the charisma of a can of pepper spray. The story is the real highlight if anything, since it's fairly different from most movies you'd see today, and it's willing to go there with something of a downer ending, because it's authentic about the characters and their relationship to each other as well as their work (and so you don't have to look it up yourself, 'dementia praecox' is an archaic term for schizophrenia). Maybe I liked this more than some people would because I'm a scientist, but it was also more than a little cringe-inducing, too, since they did everything without gloves and no protection for storing flammable liquids, which, hey, that's how you get the finish you got here. But, as I said, there's something about the film that just rings true pretty much the whole time, from the professional jealousy/plagiarism set-up to the fat useless asshole who spends all his time running his mouth: every lab's got stuff like that either going on or at its periphery. Justine - This feels a little like The Fundamentals of Caring if it were completely unfunny and filtered through an attempt at doing a Dardennes movie. That may not be much of an endorsement on the face of it, but it ends up working well enough here because the relationships at play seem real enough. If there's anything hard to believe, it's that the military wife was super-faithful and that her kids are so well-adjusted; that certainly sounds like a fantasy. But the relationship between the title character and her caretaker is solid and well-done, and Glynn Turman holds a lot of this stuff together with a lot of quiet tolerance of the awful grief that the protagonist is carrying with her. There are a few other familiar faces, too; guess what kind of character Josh Stamberg plays? The Free World - Easily the best thing I watched last week, although it feels like it had something to say and didn't go far enough with it. It's almost like the white-people version of If Beale Street Could Talk, where bad things don't automatically happen, but since the cops here are still massive pieces of shit, they happen eventually, and with far less serious consequences. But it's still pretty openly critical of our disgusting carceral system and how capitalism not only creates the conditions for poverty but criminalizes them, so if you're looking for a film that's off the beaten path with respect to how it approaches American life, this is one of those movies. And even though I kind of hate Elisabeth Moss, it's yet another movie where you have to just tip your hat to her for being really fucking good at her job; same for Boyd Holbrook here, although he's quite a bit more likable in general. But, I would have gone in for something that was even more willing to condemn the political and social structures that make a story like this believable.

He has a big hog?

That'll be the rare double dip for me.

Rippa doesn't read my posts. ?

It was Wilde's character's nickname on House. At this stage of so many good TV shows, that's practically a deep cut.

Got a bit behind because I had 80% of stuff written up on Thursday and then fat-fingered the whole thing out of existence with a keystroke. So, between that and being burnt out, I'm doing something a little different: Day 417 (and counting), 3 Sentences or Less Edition. AXE Body Spray Instead of Shower In the Line of Fire - The only thing that's aged worse than the copaganda, the sexism, the bad green-screening, and the script is Clint Eastwood himself. Though I suppose we should be thankful John Malkovich is here, since this in many ways was the beginning of the "Being John Malkovich" idea. Otherwise, no. 1922 - Molly Parker is in far too little of this to be able to ignore Thomas Jane's ridiculous, clenched-jaw accent or the way Dylan Schmid looks like Cut-Rate Chalamet. Hasn't Stephen King done about eight other stories, too, where the moral is You Can Escape the Law but You Can't Escape Yourself, so why add to that number? No. Crooked House - This is an Agatha Christie adaptation that feels more like a TV movie than anything else, in spite of all the big names, but then again, that's sort of what streaming has done to the film industry in general, isn't it? The ending goes hard, and there's a dinner scene that's pretty vindictive, but the rest of this is a snooze you'll find quite predictable. Skip. RRR - Gotta go against some of the good press on this one, because the scale of this feels off and ridiculous in a way that even the most absurd MCU entries don't, and that's on the writers and director for making something that's as subtle as a fart in church. Plus, it's smuggling in a whole crapload of nationalistic propaganda and colorism on the backs of real historical figures who probably would despise how quickly India has let fascism ruin its democracy; read the recent Salon article about the film if you want to learn more. No. Cleaner - Sam Jackson can do this in his sleep, and so can Ed Harris, but Renny Harlin (or his editor) seem like a 12-year-old who just figured out editing software on the computer and have to spend their time doing dumb, goofy shit they're convinced 'looks cool' rather than making the story work better. And while this is not that bad as far as noirs go - I've definitely watched worse during this streak - it's one of the more corrupted ones as far as its ethical center goes, and for a film that feels like it's trying to say something once in a while, that's kind of a swing-and-a-miss. Meh. That'll Do, Pig Catfight - In another world, or another format like perhaps the stage, this could have worked, because the world it presents is so cynical and satirical and openly critical of capitalism and its effects on women that you can't help but appreciate how all-in they went with the demented nature of the film, down to little details like the incredibly fucked-up artwork that is frequently on display. The problem is that it's full of jokes, but not full of jokes that land; in fact, plenty of them show just as much air as the many, many, many punches that Sandra Oh and Anne Heche "trade" in their bad playfighting. Not for everyone. The Gift (2013) - I can appreciate a movie that is swerve all the way through; the trailers definitely gave next to nothing about this away, and by the time you get to the end, you feel like Jason Bateman is the biggest piece of shit walking the earth. But, it suffers from Manchester-by-the-Sea Disease, where one character is just there to advance the plot for someone else, and you have to wonder how fucked-up it is for Rebecca Hall's character - who we spend nearly the whole film with - to have so little agency of her own when nearly *everything* happens to her. Decent if you can ignore the grossness of its implications. The Battered Bastards of Baseball - I wonder if the people who made Major League or Bull Durham ever thanked Bing Russell for making those movies considerably more believable; this story is basically the Anvil to their This Is Spinal Tap. This isn't as well-made as any of those other four films, which are all classics in their own right as far as I'm concerned, but it's a pleasant, effective jaunt through a point and place in time where something off-the-wall could happen and did happen. Recommend. Mindhorn - Imagine BoJack Horseman, only live-action and more "Magnum, P.I." than "Full House", and you pretty much have the premise for this; it's not nearly as funny as BoJack, but it has some moments that will make you want to fall out. But it definitely feels more than a little bit like yet another jumped-up kind of film that, in another day, would have been straight-to-video, as it isn't as crisp or as good-looking as a lot of its contemporaries; it actually looked a little like an episode of "Sherlock", but I realize that isn't really much of a knock on it. You might enjoy this. Kodachrome - Both Jason Sudeikis and Ed Harris are problematic here, because Sudeikis has the emotional range of a potted plant and comes off as out of his depth as often as not, while Harris has more upper body definition than people 30 years younger than him, let alone terminal liver cancer patients. But Harris is obviously the right casting for everything else about it, and it's believable in the sense of "piece of shit dad relating to son who's afraid he's also a piece of shit" that is the centerpiece of the film; it's just too bad they didn't get someone better for the lead. Worth a look.

Well, I've got a new low for Most Embarrassing Game Death. During Witcher 3, you have a fistfight in the middle of the High Stakes quest. I didn't take it seriously because I figured, "Eh, I'm in the middle of a Gwent tournament." NOPE! You Are Dead, Game Over if you lose that fistfight.

Yeah, that's about how I'd view it. My thought was, 1) put together individual decades lists; 2) pull the top 20 of each and some extra as needed since the 1920s and 30s would end up underrepresented in terms of top-tier quality; 3) cobble it together and rank the stuff you actually care about enough. That ends up at 200-ish in total, with whatever number you want ranked.

Well, seems like I'm not going to lose my eyesight in one eye...probably... I whacked myself in the face pretty hard with some exercise equipment a little over 2 years ago and have some residual damage from that. And this last week, same eye got really inflamed and problematic in terms of light sensitivity and blurred vision. I went to a doc-in-the-box and they flipped out: "Ahhh! Infection probably! We can't see in the back of your eye so go to the ER right away! Ah the sky is falling!" and I no-sold them. Woke up at 3 AM last night not really being able to see out of that eye and had a mild panic attack, but of course the way it's operated lately is that it takes a long time to acclimate to ambient light. Got seen today with a normal appointment; turns out my iris is just kind of losing its mind and not functioning correctly. Gave me those dilating eyedrops to examine the back of your eye and my right eye just no-sold those, too. Could have been an infection that kicked it off (but no evidence of one now), could have been the injury, could be psoriasis. But some corticosteroids and other eye drops and it should quit being a huge pain in the ass. Hopefully it will return to normal in the coming days and weeks.

The tiebreaker there is obviously Cassandra Peterson (Elvira). Advantage: Adventure.

Given Clemson hasn't lost to them since, yeesh, 2013, I think "Cuck Norris" suits them a little more. Fits their fucking fanbase, too, for that matter. Really, though, I'd come up with an extra mascot and call the pair of them, 'Cluck Around' and 'Find Out'.

OK, now I'm caught up. So. The good. S4 was pretty clearly better than S3, and given the COVID restrictions such as they were, I get the whole notion of breaking up everyone. Honestly, though, I do wonder how they would have handled this any differently if there were no pandemic, since the cast is getting to the point where there are almost too many people moving in it anyway, and spacing them out geographically makes as much sense as anything else to do something new. The Hawkins stuff was easily the highlight, as there wasn't much of anything there to complain about (except maybe the obviousness of the preppies). Eddie was great, the Dustin/Steve combo remains arguably the funniest part of the show, Robin is wonderful, and Max is still the best character on the show by a mile. They even managed to actually do something with Lucas after him kinda going MIA in S3, aside from giving Mike bad advice. And at least for a while, I liked that the episodes were a fair bit longer, like mini-movies, but eventually you hit a wall with that. The not good? Almost everything else with respect to plot. The whole Russia arc was flushable. The California crew was nearly a total waste of time, except for Will. What are they even doing with Jonathan anyway? He's been third/fifth/whatever-wheeling it so long now that, if anyone dies early in S5 to be a "shocking" death, it 1000% needs to be him. Argyle was as bad and boring as Eddie was good. Tying things back into Brenner's misdeeds was good, but going this route opens up a lot more things they either haven't addressed or will need to if they want to properly tie things off, like: why does Henry have abilities at all; where the fuck is Eight and when is she coming back; is there really a good purpose to the whole 'rogue elements in the government' thing besides riffing on modern politics? If they don't deal with these, they're going to seem like they're just being retconned. And FOR FUCK'S SAKE STOP HAVING WILL GRAB THE BACK OF HIS FUCKING NECK. But if there's one thing these guys do not just well but fantastic, it's their visuals. Some of the stuff in the Upside Down can look a little busy or overloaded, but nearly every big 'epic clash' set piece is pretty close to perfect. Whatever they're doing in terms of their CGI team or how they're storyboarding this is what every action-oriented show ought to aspire to. It doesn't matter if the plot points don't make a lot of sense or feel weak, because what they show you sweeps you up anyway. They go a bit overboard with the bullet-time stuff, but what hasn't done that since The Matrix? Then again, I guess when you're dropping 30 MILLION an episode on this, it ought to look good. It just sorta sucks this is ending next season, or, not really even that it's ending, but that certain characters are just not going to be there to revisit. I'd honestly watch a show that was far less crazy CGI and featured Sadie Sink, Maya Hawke, Noah Schnapp, and Gaten Matarazzo (plus the occasional Joe Keery appearance) dealing with weird bullshit that goes on years down the road due to the Hawkins incursion, but we evidently won't be getting that with the shape Max is in.

You people and your lists. I got a list for ya. It's Day 407 (and counting) of Some Movie Bullshit, Encephalitis Lethargica Edition. Your Baby's Dirty Diaper Sun Dogs - Oof. The bits of this that work have almost nothing to do with the arc plot, which is sad and pathetic in all the wrong ways and is so absurd as to be practically dangerous. But Ed O'Neill and Allison Janney kind of make their bits work like the TV married couple we never got to see happen in some show or another. The rest of this is...uh, not well-written, not well-acted, and Jennifer Morrison isn't any better behind the camera than she is in front of it, unlike some of her House alumna. There is maybe one genuinely touching bit 2/3s of the way through the story that makes you wonder what the Hell is wrong with people sometimes, and that eventually loops back around by the end, but nothing about how it gets there actually works in any meaningful way. AXE Body Spray Instead of Shower The Sound of Silence - The borrowed title of this one probably invokes more meaning and emotion than the movie itself does, which isn't often a good sign. Peter Sarsgaard plays a "house tuner", who listens very carefully to all your junk and then figures out that your toaster is the source of disharmony and that you need a Cuisinart model instead. On some level, it's exactly as pretentious as that sounds, but he and Rashida Jones do play this with a certain sadness that sometimes overcomes the strange premise. But this is a film that needed to stay a 'film' - unless you're actually seeing this on an enormous screen with a fantastic sound system and the lights dimmed, I think you'd miss a bucketload of stuff that this was trying to do. So many of the shots are so dark as to be unintelligible, and the sound mixing is pretty delicate; if you're like me and you have some amount of hearing loss, you find yourself wondering what you missed. Unfortunately, I think that goes as much for the story as it does for the filmmaking. That'll Do, Pig Take Me - Now we're talking. I think this feels just a little too simplistic to go higher, but it's riotously funny at times. Pat Healy, who was the massive creep in Compliance, is a somewhat more schlubby and everyman sort of creep here, and Taylor Schilling is just fucking dynamite at times. The middle drags just a little bit, as his character starts to question what's really happening and doubt creeps in, but the beginning and finish run are just so well-done that, even though you can predict the ending, you still kind of can't believe what you just saw and that it plays as well as it does. It knows when to be absurd and raunchy and it knows when to be so cold that you could shank someone with an icicle. But there are a couple of plot threads that feel like either they should have been dealt with in a way that would have helped you appreciate his character more deeply or should have been shelved altogether. Aside from that, this is a short, sharp kick in the ass that is probably worth a rewatch or two. Passing - Sometimes this is fairly compelling, but this doesn't really feel like it's either Tessa Thompson's or Ruth Negga's best work, and, as much as any film I've watched recently, it does love to speak its themes out loud a bit too frequently. And as much as the movie may want you to sympathize with Thompson's character, it's frequently hard to do so when so often her problems seem self-created. Is anyone really asking you to abuse drugs? Is anyone really making you be so icy towards your husband besides you? Is it so weird your friend wants to pretend she's white when you refuse to tell your own sons about lynchings? In other movies, that might make your protagonist seem complicated or three-dimensional, but it doesn't quite play like that here; instead, she just seems irritated that she can't control everyone else. The ending is a bit bonkers, but mostly in a good way, unless it did what it did for me and instantly makes you think of A Separate Peace. But, you may like this more than I did. Yeah, But... August: Osage County - Those of you with a Killer Joe/Tracy Letts fetish out there might dig this, but for me, it just felt a little too forced to reach the heights it grasped for. The characters here are believable enough, and the casting is probably right, especially Margo Martindale and Julianne Nicholson, but this aspires to be a modern-day Who's Afraid of Virginia Woolf? and feels more like a nasty, unfunny sort of project Alexander Payne would have turned down. It's got its share of Oscar-bait moments, and hey, maybe they were deserved, but it feels as much like Julia Roberts & Meryl Streep are stepping on everyone else (and each other) metaphorically as well as literally. The people you like the most are the ones who get run over the worst, and the people who are nothing but sharpened daggers and burned bridges are the ones we linger on. Maybe that's the point - probably that's the point - but it doesn't make for that much of a film. This was probably better as a play. Philomena - Hey, another 2013 Oscar bait role, but this one was well-deserved; it's very much The Judi Dench Show, and a good reminder why she gets cast in these sorts of things (even if she completely screws that up far more often by taking roles like the ones in, ugh, The Chronicles of Riddick, or, octuple ugh, Artemis Fowl). Honestly, when I saw Steve Coogan as her sidekick, I thought the film was going to go 100% absurd and it would turn out he was her son all along, but I didn't know this was based on a book. He ends up being pretty good too, and it's a neat little trick they pull throughout, where you start off seeing things from his perspective and thinking Philomena is sort of irritating, but it flips around so that you appreciate the choices she makes and begin seeing him as just a useful cheerleader of sorts. Not quite a great movie, but a really, really good one. One Maple-Frosted Donut Awakenings && - I hadn't watched this in probably 25 years, and I had forgotten entirely that this was tied to the encephalitis lethargica cases of the early 20th century, but then I watched Sandman and thought to circle back. I'm glad I did. I'm sure I totally failed to appreciate the first time how Robin Williams plays Oliver Sacks as a seriously twitchy little dude, which, by all accounts, seems to have been a rather faithful portrayal. The guy would have been a giant in the neuroscience field even without his contributions involving these cases, but man was he strange. And as I've said before, I seem to find myself liking Sensitive Robert DeNiro more than Tough Guy Robert DeNiro, and this is probably one of his best performances. The rest of the cast is just lights-out, too, and even though the romance subplots (well, at least one of them) are pure fiction, they're the right choices to help the movie keep its momentum. I'm one of the few people out there who probably still thinks Dances with Wolves is actually a really good movie, but this, just like Goodfellas, is far better. Penny Marshall really outdid herself with Big, this, and A League of Their Own back-to-back-to-back; maybe one of the most rewatchable hot streaks from a director in my lifetime. The Lost Daughter - Is 2021 going to go down as another one of those years where all the other nominees for Best Picture were better than what won it? Maybe, I still haven't seen CODA, but it's got a tough hill to climb with this also tossed in the way. There isn't a lot here that's original, but damn if Maggie Gyllenhaal didn't know exactly what to borrow from, as this exists in some strange place between We Need to Talk about Kevin and The Talented Mr. Ripley, with every ounce of unease and disquiet that both of those undeniably creepy films could muster. It looks fucking terrific, and yet you're not comfortable for one second longer than Olivia Colman's character is, so much so that you understand the way the camera just sort of soaks up Dakota Johnson's looks like a plant stretching for sunlight. Anything to get away from the churning trauma that seems to lurk around every corner, but of course, the whole point is that you can't get away from the things that lurk inside you. And everyone we meet is coping with those things to some degree or another, some more outwardly and frivolously than others. That was more than a bit of a theme from 2021, as evidenced by The Power of the Dog and Drive My Car, and this tackled the subject admirably, too.

Yeah, too bad it's copaganda.

TFW you've seen the Will meme everywhere and only partly understand but now you've watched SEVEN EPISODES already and there's still FOUR MORE HOURS to go and it still hasn't popped up so you feel left out of the conversation:

Spittin' straight facts, why fight about them?

Must have figured, "Fuck it, I'm retiring anyway, may as well get back on the HGH and see what I can crank out along the way."

Continuing to post here for now until I watch S4, but MAN S3 of Stranger Things is decidedly Not Good. I think the only show I've soured on faster is Rick & Morty. Basically every major plot point for the entire season that isn't directly Mind Flayer business relies upon "the villains are incredibly stupid" or "the audience is incredibly stupid", and no one does *anything* that makes real sense in the moment. Hopper & Joyce being worried about their kids until it's convenient to get everyone back in the same place? Nope. Hopper unloading his clip into a guy with body armor from point-blank range instead of maybe trying to hit one round in the damn head so he's actually dead? Nah, gotta save that guy for the big set of parallel fights at the end. Hopper getting teleported while everyone else who comes into contact with the device gets Rorschach'd? Nah, he's "on the good side of the field" or something (which I'm sure is how they'll explain it once I get there), so he's totally fine. How the Soviets were even getting their supplies into the fucking country? Completely irrelevant! Trained soldiers not executing the kids almost immediately? Can't have them doing things that would, I don't know, protect their actual reason for being there. Jesus. The only thing that ends up 'working' in any meaningful way is Billy's redemption arc, but that's basically it. The first season is very good and the second is far better, but wow did this fall off a fucking cliff and expect nostalgia to catch every problem with it. Maybe it will get back to the simple idea of "What if we did a D&D campaign but in the real world?" but my hopes are not high.

"Bro who didn't learn a lesson after the first 19 times" has basically always been his vibe, so I suppose we should have seen all this coming.

OK but how many of them are good and how many of them are like that aggravating adaptation of As I Lay Dying?

I like how I keep getting ads on Twitter about it, too. "Save 40% on a yearly subscription!" Yeah, and with 80% less content. Fucking ghouls.

Yeah, the Hell ep was way too flat, almost generic, like you'd see 15 other movies that did a better job with that depiction just by picking them out of a hat; that section of it might have been one of the only times where I felt really let down by how they handled something. I also didn't care for the CGI for the end of "24/7". It may be comics-aligned, but it looked hokey instead of menacing. Just hope they treat this better than Mindhunter or Altered Carbon.

I actually tried watching more of The Flash since I'd given up on it after season 3. Then I got about 15 minutes into S4 Ep 1 where Cisco says to Caitlin, "You've got 2 doctorates and a Ph.D." and I had to permanently nope the fuck out. That writers room needed to be fired. Into space.