Got it.

I generally think of the vertical market niche as under 25, not a large slice of the fediverse.

I don’t see though how vertical pagination is much different than social media on phones, which we’re all fairly accustomed to.

I don’t think this is targeted to our age group at all.

The vertical format is grown in anime and Asian dramas as well.

China is starting to be competitive with vertical short dramas specifically produced for the US market.

This is interesting.

The vertical manga/manha/manhua format is where new GenZ audiences can be found.

I’m going to infer that Deadline made a typo, but I copied it verbatim from their listing.

Regrettably geoblocked for Canada. Sigh.

I really prefer the work by the team that’s now in charge of the television side. But they received a lot of negativity for K:SI so it seems the television medium is a better fit.

It will be interesting to see whether the film part of the franchise can ground things more again.

The cinematic release scheduled for 2027 Godzilla v Kong: Supernova, reported to feature Spacegodzilla, sound like it will continue to go in a different direction than the new television franchise with Apple that aligns more closely to the first two movies.

You have a point generally but underestimate how loathed the 1998 film is.

The 1998 movie sufficiently disrespected the values around Gojira that Toho has been incredibly cautious about licensing since. There are many contractual limits on how the Toho Kaiju can be used, especially Godzilla.

American interpretations have leaned too much to the younger male audiences who are just interested in big monsters fighting and threatening humans. Not so much interested in morality stories about humanity’s relationship with the natural world.

Legendary Entertainment has tried to bring a more character driven human centric version to US and international audiences. However, the films after Kong: Skull Island had a different creative team and became more focused on spectacular fights than storytelling or messaging.

M:LOM is helmed by the original creatives. They seem to be successful overall in balancing more character driven storytelling but whichever way they lean, there will be some dissatisfaction.

I’d say that it’s fairly clear that the writers had an endpoint for the season, a few key narrative, Kaiju and character milestones that they mapped out, as well as some narrative pipe that they wanted to lay down towards the third season.

The season mostly succeeds from that perspective but there’s validity in some of the criticisms.

One thing to keep in mind is that the show is serving different international audiences, including a core of American fans who only want to see big Kaiju fight.

My sense is that they got the balance a bit different for the second season such that those who liked the first season may not be as happy with the second and vice versa.

In particular, this season seems to be the natural conclusion to many unresolved issues from the movie Kong: Skull Island — one of the most divisive movies in the Monsterverse. So, if that movie is one that someone liked or found intriguing, they are likely to find this season particularly satisfying.

You really know it’s from the 1970s.

And people (quite falsely) believe an urban myth the inking choices in Star Trek: the Animated Series were due to a colourblind artist.

No folks, those of us who were alive then will tell you this was definitionally cool at the time.

As with other wild populations, the animals’ health, ecological sustainability and whether they are reservoirs of infectious disease would be the paramount concern.

Not sure that the current provincial government has the credibility in evidence-based decision making to be able to sustain any interventions.

As Chief of Defence Staff (CDS), Carignan is a General not a Lieutenant General.

It’s really unfortunate when a basic error doesn’t get caught in the vetting of an article as it undermines the rest of the story.

https://www.canada.ca/en/department-national-defence/corporate/organizational-structure/chief-defence-staff/cds-bio.html

The actor who plays Keiko has shared that they shot a scene — at the point where Keiko sees the younger Lee in the rift — in which Keiko made a conscious decision to stay and help Cate instead of going back into the rift with Lee.

The scene was deleted in the final cut for streaming television.

Setting aside the problem that there would have been two different Keiko’s present in Axis Mundi at the same time if she had returned, this strongly suggests that the creators are playing with the idea that multiple instances of a person can exist.

Let’s see what they do with this (assuming a season three announcement is imminent).

Love “Team Basement” aka “Monarch 2.0” dark ops.

Any speculation on where this season will land?

All the lead characters seem still to be going in their own directions, whatever the current alignments.

As with the season one finale, I’m going in wondering how the creators can pull it all together but more hopeful, given the satisfying season one conclusion, that it can work.

How are others feeling?

deleted by creator

In the 1980s, MIT flagged that the US was losing the productivity/quality race to Japan and South Korea.

Despite a great deal of national handwringing on this point, no systematic improvement was made.

He’s the head of state of more than just the UK.

It would be nice if 10 Downing Street remembered that when using the King for their interests.

After a bit of time to ponder this week’s episode release, it’s really hit me that we only have one more episode in this season and so many story threads unresolved.

I felt much the same way at this point in the first season, and the show managed to achieve a very satisfying finale.

That said, I feel that there’s so much going on with Kentaro and Shaw having gone off and freelanced with their own plans, and likely to repeat the pattern again, while Cate finally seems to have pulled herself together with the support of her grandmother Keiko.

There’s definitely a feeling that the writers are ‘laying down pipe’ for another season. Hopefully, AppleTV will greenlight one given the shows overall global success.

That boneyard of remains from the events in Kong: Skull Island really hit hard.

I am wondering if Isabel may have shown Kentaro something/evidence from Hiro’s day/year in Axis Mundi. Or, generally more evidence that Hiroshi had worked with her team at some point.

If Kentaro believes that the plan to turn back time was originally something that Hiroshi was pursuing/supporting, then Kentaro would want to follow his father’s plan. And one could see that Hiroshi may have been wanting not only to keep verifying Billy’s map, but also to find a way to bring both his parents back to him.