gimmie the link

I'd be down but I'd probably be pretty inactive bc I'm busy a lot these days

I read this in the voice of that one guy in fallout new vegas who does stand up

I think it's a mix of both

I’m not a gatekeeper but it feels like the minute anything gets big people feel the need to stretch its scope beyond what it actually is

nothing can be a one off funny thing, it all has to have 3 billion headcanons and a secret serious dark interpretation

I remember when the dud wasn’t that big and was entirely just seen as a joke

types of rock

-trying to cram all the stuff it wants to into the runtime but can't without hurting my investment

I've only started the return but yeah I do think a lot of what I didn't like as much about FWWM stems from the fact it just doesn't have enough breathing room

I've only seen the theatrical cut as of right now but after about 40 minutes in it started to have this very urgent feel to it like it's

I'm not saying I always dislike when people completely change up a series with a new installment, but FWWM just lacks the restrained pacing and smaller scale which completely changes how it feels

the original created mystery through holding off information, FWWM does it more through abstraction

i expect to be paid for my labour

I also miss the not so delicate touch of a woman but yeah

the Nadine stuff gets a pass because of the payoff with Hank but it got too much focus

I wish they’d either committed more to the supernatural elements or at least given some of the normal interpersonal drama subplots more meat

the Josie stuff felt like it had big chunks missing and James’ subplot felt really undercooked

kill

devour