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Jesters_folly (230 KP) rated Spree (2020) in Movies
Aug 16, 2020
Contains spoilers, click to show
When he was younger, Kurt Kunkle was a streamer but life got in the way and he had to get a job as a 'Spree' driver (an Uber driver). Now he has an Idea of haw to get his viewers back, by streaming him self as he goes on a killing Spree of his Spree customers.
Spree is a warning about the impact streaming and Vlogging can have, both on the streamers and the viewers. Both Kurt and Jessie are shown as being addicted to getting views, although for different reasons; Kurt feels that, if he isn't getting views and streaming everything then he is nothing, he even looks down on others because they are not streaming. Jessie, on the other hand streams to get her act and message across and (to begin with) see's herself as a different, more superior kind of Vlogger to Kurt.
The viewer are shown as being detached from the reality of Kurt's actions (At least until the very final scene). To begin with they think it's all fake, where as Kurt is shown as thinking some other blogs are real, and no-one is really interested until the killings get more extreme, then the viewers don't seem to care whether it's real or not and even involve themselves by egging Kurt on and joining in with polls.
The Spree customers are shown almost as stereotypes, most are self centred and obsessed with their own streams, or they are racist or sexist.
The story is good and not overly reliant on gore, a lot of the actual kills are made off screen with just blood that needs to be washed off the car. One death you don't even see.
Spree is shot mainly as Kurt's stream and often goes split screen as he crosses over with other streams an, at times this can be a bit distracting as, as well as the video footage you also see the comments which are, most of the time, flowing too fast to read, only slowing down when necessary or flashing up on the main screen if they are important enough.
This is the only problem i had with Spree though. As a light weight slasher it lacks some of the tension (at least at the beginning) you might expect but still has some decent kills and manages to make some social statements although the biggest one is probably after everything has happen and we are shown how the video lives on on the web even when it has supposedly been taken down, which is odd because this also has the feel of a set up for a possible sequel.
Spree is a warning about the impact streaming and Vlogging can have, both on the streamers and the viewers. Both Kurt and Jessie are shown as being addicted to getting views, although for different reasons; Kurt feels that, if he isn't getting views and streaming everything then he is nothing, he even looks down on others because they are not streaming. Jessie, on the other hand streams to get her act and message across and (to begin with) see's herself as a different, more superior kind of Vlogger to Kurt.
The viewer are shown as being detached from the reality of Kurt's actions (At least until the very final scene). To begin with they think it's all fake, where as Kurt is shown as thinking some other blogs are real, and no-one is really interested until the killings get more extreme, then the viewers don't seem to care whether it's real or not and even involve themselves by egging Kurt on and joining in with polls.
The Spree customers are shown almost as stereotypes, most are self centred and obsessed with their own streams, or they are racist or sexist.
The story is good and not overly reliant on gore, a lot of the actual kills are made off screen with just blood that needs to be washed off the car. One death you don't even see.
Spree is shot mainly as Kurt's stream and often goes split screen as he crosses over with other streams an, at times this can be a bit distracting as, as well as the video footage you also see the comments which are, most of the time, flowing too fast to read, only slowing down when necessary or flashing up on the main screen if they are important enough.
This is the only problem i had with Spree though. As a light weight slasher it lacks some of the tension (at least at the beginning) you might expect but still has some decent kills and manages to make some social statements although the biggest one is probably after everything has happen and we are shown how the video lives on on the web even when it has supposedly been taken down, which is odd because this also has the feel of a set up for a possible sequel.
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BankofMarquis (1832 KP) rated Finch (2021) in Movies
Nov 18, 2021
Very Effective
There are times when there is a “Perfect Storm” of film material, performance, mood, style and execution of said material and the headspace that I am in when I sit down to view the movie that elevates a film viewing experience above the norm.
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
West really puts your emotions through the wringer!
Independent reviewer for BookSirens, I was gifted my copy of this book.
There are 2 things I love most about reviewing: finding new to me authors with extensive back lists, and finding brand NEW authors, who smash it out the park. THIS book falls in the latter category.
I fell into this book, and did not come up for air for better part of 3 hours! I didn't move, eat or drink, I was that engrossed in this.
Finn is a soldier, modified to be the perfect assassin. A chance meeting with Kathleen, an undercover cop who tries to save his intended target, and Finn begins to question everything. When Kathleen then becomes a target, Finn disobeys a direct order for the first time.
What I loved about this, was Finn really can't see what has been done to him, until Kathleen points it out. Oh he KNOWS he's been modified, and can be 'reset' at any time, but he doesn't really SEE, you know? Kathleen makes him SEE, makes him wonder about who he was before, about FINN, rather than The Hound, his handle.
There are multi layers to this, and I loved that. I was kept on my toes right from the start and right through the book, that didn't let up.
It's dark, yes. On page assassinations, and violence, but it was needed for the bigger picture to be clear. Although, I'm sure there is a MUCH bigger picture that fully isn't clear yet!
Once Finn started to remember, I loved that he let himself go with Kathleen. He fully gave himself to Kathleen and took what she offered him and I cheered for them at that point.
THEN!! West does what she does and I cried, cos I wasn't sure that Finn could come back from that. He does, and I cheered again. But West puts your emotions through a wringer!!
I only really have a niggle, and it is a niggle cos I'm greedy like that! I would have liked a bit more information about what was done to Finn. We get that he is put through some vigarous mind washing, and genetic modifications, and we get all that but I wanted it in more detail. I wanted to go through that with Finn. Maybe I'm kinda twisted but I wanted to feel his pain, to fully appreciate what he's been through.
Apollo is another soldier who pops up here. I am assuming he will be next and I really hope I get to read it!
4 very VERY good stars, but very well done Ms West!
*same worded review will appear elsewhere
There are 2 things I love most about reviewing: finding new to me authors with extensive back lists, and finding brand NEW authors, who smash it out the park. THIS book falls in the latter category.
I fell into this book, and did not come up for air for better part of 3 hours! I didn't move, eat or drink, I was that engrossed in this.
Finn is a soldier, modified to be the perfect assassin. A chance meeting with Kathleen, an undercover cop who tries to save his intended target, and Finn begins to question everything. When Kathleen then becomes a target, Finn disobeys a direct order for the first time.
What I loved about this, was Finn really can't see what has been done to him, until Kathleen points it out. Oh he KNOWS he's been modified, and can be 'reset' at any time, but he doesn't really SEE, you know? Kathleen makes him SEE, makes him wonder about who he was before, about FINN, rather than The Hound, his handle.
There are multi layers to this, and I loved that. I was kept on my toes right from the start and right through the book, that didn't let up.
It's dark, yes. On page assassinations, and violence, but it was needed for the bigger picture to be clear. Although, I'm sure there is a MUCH bigger picture that fully isn't clear yet!
Once Finn started to remember, I loved that he let himself go with Kathleen. He fully gave himself to Kathleen and took what she offered him and I cheered for them at that point.
THEN!! West does what she does and I cried, cos I wasn't sure that Finn could come back from that. He does, and I cheered again. But West puts your emotions through a wringer!!
I only really have a niggle, and it is a niggle cos I'm greedy like that! I would have liked a bit more information about what was done to Finn. We get that he is put through some vigarous mind washing, and genetic modifications, and we get all that but I wanted it in more detail. I wanted to go through that with Finn. Maybe I'm kinda twisted but I wanted to feel his pain, to fully appreciate what he's been through.
Apollo is another soldier who pops up here. I am assuming he will be next and I really hope I get to read it!
4 very VERY good stars, but very well done Ms West!
*same worded review will appear elsewhere
Debbiereadsbook (1730 KP) rated Unrivaled (Hockey Ever After #3) in Books
Mar 24, 2024 (Updated Mar 24, 2024)
so bloody good!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is book 3 in the Hockey Ever After series, and I am reading it after I read book 4. They can all read as a stand alone, the characters from previous books do pop up, but you don't need to haveread those to fully enjoy this book.
And I bloody LOVED this book! It is absolutely on a par with book 2, that got 5 stars from me, but for a very different reason. That book was very emotional, heavy on the angst scale. THIS one? Opposite end of the scale, low on the angst. Emotional, still, but different.
Max and Grady has chemistry on the ice, just the sort that the media have billed it as hatred. Grady doesn't hate Max, Max breaking Grady's arm years previously really was an accident. But when a hookup who Max thinks is a catfish usingGrady's picture turns out to be Grady, that attraction goes into overdrive. And from that very first time, both men were hooked. But they play for rival teams, can it really work when one or both could be traded and moved at a moments notice?
I loved this, I really did!
Max and Grady are perfect for each other, each with their quirks and faults that compliment the others and I fell in love with these guys right from the start.
The chemistry is powerful, and plays a huge part all the way through the book. But I found this one was a bit more fade to grey, than full on page smexy times, and I think for THESE two, it was perfect.
The hockey match descriptions, while a lot, I found I enjoyed then more because of the interaction between Max and Grady when they were on ice together. Even when they played other teams, I didn't feel overwhelmed by the technical stuff. I still have no clue how it works, but having been to an ice hockey match here in the UK, I can appreciate the SPEED these matches are played at!
The only real angst, I think, was when Grady got traded. He reacted badly to something someone said, and instead of reaching out to Max, Max bore the brunt of Grady's anger...? No, he wasn't angry, he was HURT. But Grady does redeem himself, quite wonderfully.
I have already read the short that comes after this, and I'm finding it really REALLY hard not to write in here, what happens there. So I will leave this one as this:
5 full and shiny stars!
*same worded review will appear elsewhere
This is book 3 in the Hockey Ever After series, and I am reading it after I read book 4. They can all read as a stand alone, the characters from previous books do pop up, but you don't need to haveread those to fully enjoy this book.
And I bloody LOVED this book! It is absolutely on a par with book 2, that got 5 stars from me, but for a very different reason. That book was very emotional, heavy on the angst scale. THIS one? Opposite end of the scale, low on the angst. Emotional, still, but different.
Max and Grady has chemistry on the ice, just the sort that the media have billed it as hatred. Grady doesn't hate Max, Max breaking Grady's arm years previously really was an accident. But when a hookup who Max thinks is a catfish usingGrady's picture turns out to be Grady, that attraction goes into overdrive. And from that very first time, both men were hooked. But they play for rival teams, can it really work when one or both could be traded and moved at a moments notice?
I loved this, I really did!
Max and Grady are perfect for each other, each with their quirks and faults that compliment the others and I fell in love with these guys right from the start.
The chemistry is powerful, and plays a huge part all the way through the book. But I found this one was a bit more fade to grey, than full on page smexy times, and I think for THESE two, it was perfect.
The hockey match descriptions, while a lot, I found I enjoyed then more because of the interaction between Max and Grady when they were on ice together. Even when they played other teams, I didn't feel overwhelmed by the technical stuff. I still have no clue how it works, but having been to an ice hockey match here in the UK, I can appreciate the SPEED these matches are played at!
The only real angst, I think, was when Grady got traded. He reacted badly to something someone said, and instead of reaching out to Max, Max bore the brunt of Grady's anger...? No, he wasn't angry, he was HURT. But Grady does redeem himself, quite wonderfully.
I have already read the short that comes after this, and I'm finding it really REALLY hard not to write in here, what happens there. So I will leave this one as this:
5 full and shiny stars!
*same worded review will appear elsewhere
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It’s about 6 weeks since I finished season 3 of this incredible show from Netflix. I have been putting off writing about it, because I wanted to let it settle. And also because I have a hell of a lot to say about it. I am gonna try and be comprehensive, without giving too much away in terms of spoilers. I am going to assume you have seen some of it, or have heard the hype, at least. If you haven’t got around to it yet, then all I can say is: what are you doing with your entertainment life? Get on it, now! It is as ubiquitous as Breaking Bad, The Sopranos, or The Wire, and sits comfortably in that group for consistent quality and lasting impressions.
Season one first aired in July 2017. I heard good things very quickly, albeit with some hesitation. It was dark, sometimes literally, utilising a trademark washed-out effect visually, that instantly gave it a bleak feel, which was not to everyone’s taste, but I loved. General consensus had it that the writing was great; the situation and concept drew you in from minute one. In fact, I believe the first episode is one of the best pilots seen in the last decade, bar none. It made no bones about what we were to expect from the start: intelligent dialogue, a lot of tension and a hefty chunk of jaw-dropping brutality.
Jason Bateman has enjoyed a remarkable career in the last ten years, putting behind him a patchy child-star and B actor tag, to emerge as the go to guy for deadpan comedy pathos, rivalled only, perhaps by Paul Rudd. Ozark is Bateman’s show in many regards, fulfilling his ambition to produce and direct as well as act, and he is a superb central pivot to the show, as hard nosed accountant turned drug cartel puppet, Marty Byrde. He excels in all three roles on every level, and if you are a fan of his lighter work, chances are you will fall head over heels for his dubious charm in Ozark.
But, whilst he is the lynchpin of the show, and a compelling character in every subtley drawn way, there is so much more to the show than him. Laura Linney, as his initially timid wife, Wendy, is never less than interesting. Perfectly cast, utilising her skill for portraying strong yet flawed women at every turn; she grows into a character so full of contradictions and conflicts, that you change your mind whether you like her or not almost episode to episode. Time will tell, but she may yet emerge in season 4 as the most fully realised character in the show, depending on how her arc ends. The potential is huge, and despite a CV of solid roles over the years, this could be the defining work of her career. It’s already close.
Then there are the kids in this very modern nuclear family, Charlotte and Jonah, played by Sofia Hublitz and Skylar Gaetner. These characters could have been set decoration in lesser hands, but in this show they are given the chance to grow and become pivotal to the ongoing story in remarkable ways. There is nothing stereotypical about either of them, and the two young actors more than rise to the challenge of matching the more experienced pros. Many a show has been ruined by miscast youths that can’t match the more sophisticated adult content, but I remain impressed by these two, both as characters and actors. Again, they have the scope to go into very fascinating places within the story when season four emerges.
The true strength of the show, however, may lie in its consistently solid output of great supporting characters. Julia Gartner, as older than her years redneck with ambitions to rise above it, Ruth, has garnered all the plaudits, quite rightly. You grow to like her in usual ways. At first mistrusting her and then ended up 100% on her side. At times, she is the only one making sense and making the right decisions. The continual ways she is forced to grow up fast and bounce back from traumatic situations is so beautifully handled, that when she does show her vulnerable side it is at once shocking and heart- rending.
A lot of characters come and go; some forever, much quicker than you anticipated… for the sake of non spoilers, I won’t go into a who’s who here, but many meet a very sticky end, and it isn’t always who you think it will be. Especially by season 3, which largely drops the dark filter on the camera lens, but cranks up the body count exponentially, you start to feel that no one is safe, and anyone can go at any minute. Except, when they do, and why they do, is so well interwoven into the plot that you forget to look for the sucker punch and are still left with your jaw hitting the floor.
There were moments on season three where I was actually talking to the screen, begging certain characters not to do what they were doing; a sure sign of complete emotional investment. A big part of that was the addition of Tom Pelphrey as Wendy’s brother, who from the start puts a genius new spin on the family dynamic, becoming intertwined in interesting and ultimately devastating ways. His character takes a while to warm up, but by mid-season he is guaranteed to be your favourite person in it. And in episode 9, he delivers a monologue and a performance that I would quite honestly say is one of the absolute best things I’ve ever seen in a TV show.
I was moderately outraged then, to see he wasn’t rewarded with at least a nomination for the 2020 Emmy Awards. An oversight rather than a snub, for sure, but when Bateman, Linney and Garner all got nominated and he didn’t it felt like a real injustice, and a lot of online vitriol reflected that. Such a shame, especially if it turns out to be the best work he ever does – and I can’t imagine anything better, but who knows where he will go from here.
By the end of season 3 I felt exhausted. Each episode is slightly over an hour long, but can feel like you just watched a self contained movie. The quality certainly feels that way. I was both elated and shocked by the way it was left on a cliff edge, and relieved that I could take a break from it now. Although, waiting potentially up to two years to see how the story ends now seems like a long wait.
And it will be the end, one way or another, as the production announced season four will be the last, however stretching from 10 to 14 episodes, divided into 2 halves of 7; a trick Breaking Bad also did in its fifth and final season. I love that idea. Knowing the finish line is coming, rather than having it stretch out for years until the ideas and the momentum have long run out. Dexter springs to mind: a show that should have ended two seasons earlier, for sure.
I can really only see two ways it can go from here: either everyone dies, and that seems quite likely right now, or they win big. There simply is no inbetween I can imagine that would be satisfying. And I’m on the fence which I will prefer… The only certainty is that I will be very excited indeed when it comes around. And shows that make you feel that way are rare. In the meantime, I’m gonna watch a lot of comedies. I need a laugh after this…
Season one first aired in July 2017. I heard good things very quickly, albeit with some hesitation. It was dark, sometimes literally, utilising a trademark washed-out effect visually, that instantly gave it a bleak feel, which was not to everyone’s taste, but I loved. General consensus had it that the writing was great; the situation and concept drew you in from minute one. In fact, I believe the first episode is one of the best pilots seen in the last decade, bar none. It made no bones about what we were to expect from the start: intelligent dialogue, a lot of tension and a hefty chunk of jaw-dropping brutality.
Jason Bateman has enjoyed a remarkable career in the last ten years, putting behind him a patchy child-star and B actor tag, to emerge as the go to guy for deadpan comedy pathos, rivalled only, perhaps by Paul Rudd. Ozark is Bateman’s show in many regards, fulfilling his ambition to produce and direct as well as act, and he is a superb central pivot to the show, as hard nosed accountant turned drug cartel puppet, Marty Byrde. He excels in all three roles on every level, and if you are a fan of his lighter work, chances are you will fall head over heels for his dubious charm in Ozark.
But, whilst he is the lynchpin of the show, and a compelling character in every subtley drawn way, there is so much more to the show than him. Laura Linney, as his initially timid wife, Wendy, is never less than interesting. Perfectly cast, utilising her skill for portraying strong yet flawed women at every turn; she grows into a character so full of contradictions and conflicts, that you change your mind whether you like her or not almost episode to episode. Time will tell, but she may yet emerge in season 4 as the most fully realised character in the show, depending on how her arc ends. The potential is huge, and despite a CV of solid roles over the years, this could be the defining work of her career. It’s already close.
Then there are the kids in this very modern nuclear family, Charlotte and Jonah, played by Sofia Hublitz and Skylar Gaetner. These characters could have been set decoration in lesser hands, but in this show they are given the chance to grow and become pivotal to the ongoing story in remarkable ways. There is nothing stereotypical about either of them, and the two young actors more than rise to the challenge of matching the more experienced pros. Many a show has been ruined by miscast youths that can’t match the more sophisticated adult content, but I remain impressed by these two, both as characters and actors. Again, they have the scope to go into very fascinating places within the story when season four emerges.
The true strength of the show, however, may lie in its consistently solid output of great supporting characters. Julia Gartner, as older than her years redneck with ambitions to rise above it, Ruth, has garnered all the plaudits, quite rightly. You grow to like her in usual ways. At first mistrusting her and then ended up 100% on her side. At times, she is the only one making sense and making the right decisions. The continual ways she is forced to grow up fast and bounce back from traumatic situations is so beautifully handled, that when she does show her vulnerable side it is at once shocking and heart- rending.
A lot of characters come and go; some forever, much quicker than you anticipated… for the sake of non spoilers, I won’t go into a who’s who here, but many meet a very sticky end, and it isn’t always who you think it will be. Especially by season 3, which largely drops the dark filter on the camera lens, but cranks up the body count exponentially, you start to feel that no one is safe, and anyone can go at any minute. Except, when they do, and why they do, is so well interwoven into the plot that you forget to look for the sucker punch and are still left with your jaw hitting the floor.
There were moments on season three where I was actually talking to the screen, begging certain characters not to do what they were doing; a sure sign of complete emotional investment. A big part of that was the addition of Tom Pelphrey as Wendy’s brother, who from the start puts a genius new spin on the family dynamic, becoming intertwined in interesting and ultimately devastating ways. His character takes a while to warm up, but by mid-season he is guaranteed to be your favourite person in it. And in episode 9, he delivers a monologue and a performance that I would quite honestly say is one of the absolute best things I’ve ever seen in a TV show.
I was moderately outraged then, to see he wasn’t rewarded with at least a nomination for the 2020 Emmy Awards. An oversight rather than a snub, for sure, but when Bateman, Linney and Garner all got nominated and he didn’t it felt like a real injustice, and a lot of online vitriol reflected that. Such a shame, especially if it turns out to be the best work he ever does – and I can’t imagine anything better, but who knows where he will go from here.
By the end of season 3 I felt exhausted. Each episode is slightly over an hour long, but can feel like you just watched a self contained movie. The quality certainly feels that way. I was both elated and shocked by the way it was left on a cliff edge, and relieved that I could take a break from it now. Although, waiting potentially up to two years to see how the story ends now seems like a long wait.
And it will be the end, one way or another, as the production announced season four will be the last, however stretching from 10 to 14 episodes, divided into 2 halves of 7; a trick Breaking Bad also did in its fifth and final season. I love that idea. Knowing the finish line is coming, rather than having it stretch out for years until the ideas and the momentum have long run out. Dexter springs to mind: a show that should have ended two seasons earlier, for sure.
I can really only see two ways it can go from here: either everyone dies, and that seems quite likely right now, or they win big. There simply is no inbetween I can imagine that would be satisfying. And I’m on the fence which I will prefer… The only certainty is that I will be very excited indeed when it comes around. And shows that make you feel that way are rare. In the meantime, I’m gonna watch a lot of comedies. I need a laugh after this…