Dan and I have the Covid Blues so we are scraping for any reality races on which we can bet. Any show where each episode has a winner and a loser. Here’s our next train wreck! Call your bookie, slap down those bets!
New improved rules, now with more action!
Pick the player you think will win, pick the two players you think will be chosen to defend themselves, and pick the player you think will be actually eliminated.
For winners, start with 10 points. If your winner is eliminated, you lose a point, and you have to pick another. If your winner wins, you score a point, and they remain your pick.
For losers, start with 0 points. Score a point for each defender you got right. If your loser is eliminated, you score a point, and get to pick another.
Contest winner is the one with the most points after the final episode!
Also, we are playing with DAN’S BASTARDIZATION OF THE PICK RULES: you can change any pick you want in between episodes. WHAT? LAME, Mike does not approve… but he’s very accommodating, so here we go…
I almost bailed on a bike ride to get Indian takeout on the other side of town, because the forecast was for rain. They oversell it! I’m so glad I went, the ride was gorgeous, the food delicious, and I continued to blast away at my DVT. :-)
Intentionally, sadistically dense stuff, every single page its own literary sudoku, like only Gibson can get away with. Let it wash over you, rereading the page with the context of its contents. Once you’re comfortable with the ride, it’s good solid fun with some real payoffs. Quite explosive, actually.
Thanks Dan for the gift! You helped me rediscover my favorite author. Now on to the sequel, Agency….
OB S3 got all the little nuances right. Engaging plot, perfectly-sized entourage of great characters, full emotional range of well-written scenes, all wrapped around the showcase of Tatiana’s unparalleled performances.
Like a one night stand rebound, this show stepped in to save me from Westworld. By Greg Daniels, who works with Steve Carell and Mike Judge, it’s a near-future sci-fi comedy that walks well trodden ground with off-the-charts freshness.
Daniels started writing the series right after The Office ended and it’s taken the past six years for the show to finally come to fruition. “It’s been a long time coming,” Daniels tells us. “I was writing episodes in 2017, and then we shot a pilot in 2018. And then we shot the series in 2019. There were so many special effects, that it took another year to do all the visual effects. It’s been a long time coming, and it’s great fun.”
This is how deep art happens. It’s why bands have a hard time reproducing the depth of that first “Q: Are We Not Men? A: We Are Devo!” release. It’s why the strike in the middle of Bladerunner let it refine like wine. It’s why the fire that destroyed all master tapes and forced Meat Beat Manifesto to rerecord its first release was such sweet good fortune (wait, Jack made that up? Genius). It’s how Phoebe Waller-Bridge gradually turned her Fleabag stage production into the most powerful and sublime television, a fully-formed vision. I am grateful for these gems, I hope you like them too, my friends.