GoldenTongue

It’s a little hard for me to really criticize the quirky camp that permeates so much of the movie when that is clearly the intent, but more often than not, the tone of the movie just didn’t work for me. I really don’t have any issue with weird per se, but it really felt that by and large, the movie’s reach exceeded its grasp. I was a little bummed. I really enjoyed the first two, so feeling somewhat underwhelmed or disappointed was really, well, disappointing. Part of that is almost certainly a failure to live up to some hype/hope/expectations that I had, so I can’t really fault the movie entirely for that. But on the whole, I think it was (aside from a brief couple moments) a lackluster start to the next phase, and a pretty underwhelming introduction to the next Big Bad.

Someone who asks questions about your training background, current goals, available timeframes for training, etc. Someone who can speak competently about different programming models without falling into hyper-complex language - one of the first and biggest red flags that I see are trainers who love resorting to florid and often incomprehensible fitness/anatomical rhetoric, which, as often as not, means that they don't have an appropriate level of understanding to be able to communicate with the average joe starting a training program. Joel Seedman is a classic example of that, although he sucks for a whole host of other reasons as well. Just started a new programming model this week, after seeing my lifts starting to plateau off a bit - that, along with the fact that I realized that my work capacity has gone to shit from focusing too heavily on high intensity/low rep work with too little cardio/GPP, made me realize that I'd started chasing weight and losing focus of the bigger picture. Decided to try running Bromley's Bullmastiff program: powerbuilding program that relies primarily on volumizing as the method for progressive overload. First workout had 4x6+ (last set AMRAP) back squats, with 3x12 front squats, and 2x15 for leg press/leg extension/low cable row/DB Kroc Rows; Weeks 2 & 3 add a set each for the support exercise (front squat) and isolation movements. Resistance workouts 4 days/week, and I'll be sprinkling in GPP work for 2-3 days/week to help provide some additional cardio/recovery volume: stuff like KB swings, loaded carries, and prowler push/pull intervals.

I had the option of having a stool sample analysis in lieu of a colonoscopy (turned 45 last year), but decided on the colonoscopy since the results are apparently valid for ten years, as opposed to 2-3 for the stool sample: that was the main benefit, although there are several others I discussed with the doctor.

Care to specify who else is doing so much better?

Started training again in June after a 2+ year layoff: COVID, long hauler symptoms, office job, and laziness all combined, and managed to gain a good 70+ lbs and reached 300 lbs in May, which served as the wake-up call I needed to start getting my ass in shape. ~ 6 months later, I’m down 45 lbs, while also being stronger than at any point before in my life. Squatted 500 for a single on Thanksgiving, and also benched 305 for one. On OHP I’ve done 195 for three, and for DL, I’ve done 450 for five. Barbell resistance training five days per week, with KB swings done in intervals pretty frequently. A part of me wants to shift gears a bit in the new year and make endurance/VO2 max training more of a priority, but by the same token, I’m loving pushing new boundaries for strength and power; compromising on that by doing more interval/cardio work is going to be a tough pill to swallow.

Imgur: The magic of the Internet IMGUR.COM Find, rate and share the best memes and images. Discover the magic of the Internet at Imgur. imgur.com IMGUR.COM Imgur: The magic of the Internet One photo of my wife and I enjoying wine country in Santa Ynez, CA. Other is me setting a new PR for squatting, this past Thursday.

To me it sounds as though your criticisms largely stem from a conclusion about a timeline that may be based upon a mistaken assumption. I also think complaints about excessive stretching of the suspension of disbelief may be a tad misplaced given several core elements of the movie.

SILENCE may be the greatest movie I never want to watch again.

Lol, yep. Small world and all that ****. She and I were high school sweethearts, then reconnected about 20 years later on Facebook. She worked in LA in the entertainment industry while she was married to him, but left it a couple years after they divorced.

I always feel so conflicted seeing an announcement about another Mike Flanagan project. I have nothing against him, but given that my wife is his ex-wife, I can’t help but compare his successes to my own…and that part of me that’s struggled with self esteem issues in the past has a field day with the comparisons, regardless of how stupid they are. Of course, it doesn’t help when my mother-in-law (who has some narcissism issues) never ceases to post headlines about him on FB, commenting about how he is her former son-in-law.

Great episode. Couldn’t get over how Ewan Mitchell looks more like Matt Smith than Matt Smith does in the show 😂

Young in terms of mortality, perhaps, but not in terms of awareness and recognition of contemporary norms. Who is more likely to have a pragmatic and realistic perspective of the urgency for SS reform: someone who is on the cusp of being able to start receiving it (or already has) and who runs a relatively low risk of loss of benefits in their lifetime…OR…someone who is contributing but sees that, absent meaningful reform, that they may likely never be able to collect? That aside, Generational divides are more significant that ever, if only because of how rapidly technology has fundamentally altered our lifestyle. Those now in their 60’s got their first exposure to a PC (potentially) while in their 20’s, and look at how dramatically computers have evolved and reshaped our lives.

Wife and I both enjoyed it, but both felt as though Peele didn't really stick the landing in terms of thematic follow-through. But that nitpicking aside, I think it was beautifully shot, with (as others have noted) a wonderful take on how movies often portray certain types of creatures. There were more than a few genuinely entertaining moments, and kudos to Peele for being able to really nail building a sense of suspense. It did feel strange, though, walking out of a Peele movie and not feelign as though there was more meat to chew on and think about. Maybe the theme noted in my spoiler section is really all it amounts to, and while I can certainly appreciate the perspective to an extent, I feel as though the movie took a bit of a meandering route to get to that particular point. I can definitely see why reviews have been really mixed - between the fact that the movie almost certainly does not cater to any expectations that some might have walking in, the fact that it feels like a number of elements are red herrings, and the fact that there isn't that pulpably shocking moment(s) that you got from US and GET OUT, it's easy to see why the movie will be polarizing for many. On the whole, I definitely enjoyed it, but don't have any particular urge to watch it again...something else that feels unusual (for me) from a Peele movie.

IDK. I understand that the show was originally intended to end after S5, and yep, there some extended runs of episodes that took me close to hate-watching territory, but somewhere around maybe S10 or S11, (I can't remember exactly when), it always felt to me that the whole family-esque dynamic that the actors and fandom talk about, really seemed to gel, quite possibly around the time that the show occasionally leaned into a certain degree of self-awareness of what it was. It still had some real clunkers at times to be sure, but even when it failed, it failed with heart, as often as not. Haven't watched the trailer for the new spinoff, but my guess is that it will fail, like the last attempted spinoff did. With re: to the father and whatnot, I'm relatively certain that the show's internal logic supports the how and why of the father never knowing more about the Winchesters' "family business" with the MoL, since the MoL were largely wiped out while John was just a baby (or maybe not even born?). And yeah, I suppose you can pick at nits with regard to Winchester and Campbell families coming together and resulting in Dean and Sam, but hell, there was one episode with a cherub that spoke to the amount of effort that was invested in bringing John and Mary together. You'll never see me holding it up as all-time great TV among greats like The Wire, and such, but there was something special about it, some singular and somewhat intangible quality that really makes the show more than the sum of any of its parts.

Worth trying just for Tatiana Maslaney. Wonderfully versatile actress in this type of environment; I think she could make it something great (for what it most likely will be).

Sex Education is absolutely phenomenal. I'd say it's easily on a short list of Netflix's top 5 series, and maybe among the Top 3. I'll probably give Dr Who another try with Gatwa in the starring role.

It feels like a certain level of narrative fluidity is allowing that to become true now, or in moving forward. That was not always the case. Look at who got offed in DS2:MoM, and give me an example of how cavalierly that was done in the past, with the exception of IW1 and IW2, where characters' deaths and returns were integral to the story itself.

Just watched the Season 3 finale last night. That was absolutely brilliant. Completely bonkers, but I can't help but feel like the cast knew exactly how ridiculous it was, and absolutely loved it. What a joy. And I'm a lowkey amazed by the fact that JFC, what a delight.

I have a lot of mixed feelings about the movie. The almost tangible Sam Raimi-ness of it worked wonderfully at times; the film's story needed a darker tone and composition, and Raimi executed that in a way that sticked the landing more often than not. But I also have this feeling that my enjoyment of where it worked, in execution, is really masking quite a few things that are bothering me, although I'm struggling to articulate what they are. I do think that that same Raimi-ness that I enjoyed (as a fan of many of his earlier works) might be a bit of a detraction, insofar as the movie felt pretty strongly that it was more of a MCU film cooked and pressed through an Evil Dead strainer, than as an MCU film which has a more pronounced directorial voice. Which feels like a strange criticism to level at an MCU film, given the (rightful) complaints of overly homogenized paint-by-numbers structures for so many of the other movies, but here, it feels fair, when the Raimi-ness bleeds so heavily into the celluloid. I think I'd read somewhere that for one or more reasons, Raimi had to start shooting before a final script was available. I feel as though it shows; the movie doesn't do a very good job of exploring characters' motivations beyond a fairly shallow level. I think associations with other MCU projects is very much a double-edged sword here. It also feels as though a number of elements were mentioned, but not really explored... And I think this movie is flashing some warning lights of the dangers of the multiverse - I don't know. There were aspects of the movie I thoroughly enjoyed. The action set pieces were phenomenal, and while I'm typically not a fan of Danny Elfman, I thought the score complimented the movie beautifully here. And any number of scenes in which that Raimi saturation was particularly strong brought a huge grin to my face, regardless of whether the scene was going for humor or not. But (as I mentioned in another thread), the best multiverse-based movie of the year does NOT star Benedict Cumberbatch.

I'm interested to see what Netflix does with this. Their take on several reality-based shows has been interesting, at times. And my wife and I have become total junkies for a lot of the competitive cooking shows on cable: Guy's GGG, Chopped, Food Network TOC, etc. This should be fun.

@Kal-El814 - you really should give Supergirl a try. I held off wathcing based on what I later learned were some pretty stupid assumptions about the show. It really holds up well on its own, and plunges headlong into some issues (LGBTQ+, race) in ways that have no business being executed with as much sensitivity as they do, in ways that feel happily organic within the framework of the show. I mean, it's still filtered through the lens of a CW show, but the characters' struggles on those fronts don't feel at all hamfisted, and there's more than enough heart that it genuinely feels like an effort directed toward inclusion, as opposed to proselytizing. Looks like I'll be moving on to Superman and Lois after I finish Legends.

Arrow S2* I'm working through LoT now; just finished watching all six seasons of Supergirl on Netflix. I'm enjoying Legends so far, so I'm expecting to feel a pang of disappointment when I finally catch up.

Absolutely hysterical.

I can understand this, to some extent. I think the movie is maybe 15-20 minutes longer than it needs to be, with some content in the second act which seem a bit superfluous, or perhaps redundant. And while it maintains the same frenetic pacing, that redundancy in certain elements loosens what had been, all things told, a fairly tight propulsiveness in many regards. And I can see how the "turn everything up to 11" approach could be a bit exhausting, although I found it absolutely exhilirating. There were times when I LOL'd harder than I can remember laughing out loud during a movie, and felt genuinely touched on several occasions late in the movie. You can't help but feel the writers'/directors' passion for this project while watching the movie; there is an absolute joy to be seen in so many of the performances, from Yeoh, to Quan, to Hsu, Curtis, and Hong. I can understand what johny is saying about those with more basic/traditional tastes not getting into the movie, but by the same token, a part of me hurts at the idea of someone loving DR STRANGE MoM (for what I expect to see from it) but not being able to enjoy this.

Not that there are any other movies like it. Here is an orgiastic work of slaphappy genius that doesn’t operate like a narrative film so much as a particle accelerator — or maybe a cosmic washing machine — that two psychotic 12-year-olds designed in the hopes of reconciling the anxiety of what our lives could be with the beauty of what they are. It’s a machine powered by the greatest performance that Michelle Yeoh has ever given, pumped full of the zaniest martial arts battles that Stephen Chow has never shot, and soaked through with the kind of “anything goes” spirit that’s only supposed to be on TV these days. https://www.indiewire.com/2022/03/everything-everywhere-all-at-once-review-1234707051/