Posts by wiredraven82

A total legend—I honestly don't know how else to put it.

Hands down his greatest role and best film: Vito Corleone in The Godfather.

Larry Sanchez7 said:I’m on the same page, the second one was way better, more tension, actually felt like there was something going on instead of just fluff...👍
Anyway, the movie itself is top tier...has anyone heard if they're already filming a third part or what...

There’s going to be a third installment—here is the intel I managed to dig up online regarding it:

Now that the sequel, The Purge: Anarchy, managed to outpace the original film's $91 million global haul by climbing all the way to $110 million, Universal Pictures—along with Blumhouse and Platinum Dunes—has officially kicked off development on a third entry in this horror franchise. Small wonder this is happening ; The Two films Had a combined production budget of just $12 million, yet they've pulled in a massive $200 million at the global box office. When you look at those margins, the math is pretty simple—it's hard to walk away from that kind of profit. DeMonaco—the guy responsible for writing and directing the first two installments—is officially back on board to pen the script for the third one. With a clear vision for directing a narrative centered on a territory where, for one single night a year, homicide is completely sanctioned—leaving anyone unfortunate enough to be caught outside their fortified homes at the mercy of absolute chaos.

So, I just caught wind of the latest news regarding the franchise, and honestly, it’s exactly what you’d expect from a studio setup like this. It looks like Universal Pictures is doubling down on the momentum following the success of the previous installment. They are officially moving forward with the next chapter, keeping the partnership between Blumhouse and Platinum Dunes intact. It’s an interesting move, though—it feels almost inevitable at this stage. After The sequel The Purge: Anarchy, the industry logic is pretty clear: why mess with a winning formula? James DeMonaco is staying on board to steer the ship, which provides a certain level of continuity, even if some might argue that the repetitive nature of the concept starts to feel a bit predictable. I’ve been thinking about the trajectory here. There’s a specific kind of tension in how they’re scaling this up—moving from a contained, claustrophobic vibe toward something much more expansive. It reminds me of how certain cult classics eventually get stretched out to fit a blockbuster mold. You have to wonder if the raw, gritty essence that made the initial idea stand out will survive this expansion, or if it’ll just become another polished, high-budget spectacle. wiredraven82 was mentioning something similar recently regarding the pacing of these types of horror expansions, and I think there's merit to that skepticism. When you start widening the lens, you risk losing that tight, suffocating atmosphere that makes a thriller actually work. We'll see if DeMonaco can maintain that edge or if we're looking at a more streamlined, commercialized version of the original vision. One thing is certain: the hype machine is already revving up.

It’s honestly mind-blowing to look at the numbers—starting with a modest $12 million budget and somehow pivoting all the way to a $200 million haul at the box office. You have to hand it to them; that kind of ROI is nothing short of legendary.

Based on what we know, the third installment is already on the horizon—it's actually slated for release as early as next year.

I’ve always felt that James DeMonaco is a solid director—nothing short of a genius, but certainly nothing to write off either. He sits right in that middle ground where he shows real potential to constantly refine his craft and climb higher. If you look at his body of work, this film is hands down his strongest piece to date.

It’s pretty clear he’s a fan of Ethan Hawke—I mean, he was practically handpicked for the first installment of The Purge, and he even showed up in that remake of Assault on Precinct 13. It seems obvious that DeMonaco has a fascination with how society descends into anarchy and the subsequent struggle against it—especially since DeMonaco served as both writer and co-producer on that one. That said, I don't think he'd want to see Ethan Hawke back for the third chapter of The Purge; honestly, one time was more than enough.

I really respect his approach—he truly hit his stride with this one. It’s a straightforward style, but it’s tight; there aren't any glaring plot holes to trip over. Most importantly, the movie avoids any unnecessary psychedelia in film—and frankly, I HATE psychedelia in film. The moment I sense that kind of stylistic nonsense creeping in, I either shut the movie off entirely or start tearing it apart right here on the forum. This story stays strictly linear, which works perfectly given how genuinely original the concept is. For me, this was a total breath of fresh air.

An Old School approach.

cosmiclynx57 said:Man, wiredraven82, you're being totally unrealistic here. It really doesn't matter which movie hits harder or who executed the concept better—the person who brought the idea to the table first is the one who's being original, right?

I get where you're coming from emotionally, I really do, but you just can't ignore the fact that the first film exists and introduced that whole new concept to us in the first place.
If a third movie comes out down the road and you end up liking it way more than the second one, would you suddenly claim the third one is the "original" idea? Come on, 😁

Sometimes a precedent occurs where a brilliant idea is birthed by a first film that ends up being total garbage. 😁 It’s rare, sure, but if the core concept is solid, why wouldn't you keep refining and improving the cinematic execution?

We are dealing with a genuine rarity in cinema here; usually, when there's a great idea, the first film hits the mark and the sequels are what inevitably mess everything up—this is clearly the exception to that rule. 🙂

To me, this second installment is simply a great movie, and I have two specific reasons why:

1. Because of Frank Grillo. He finally landed a lead role and proved exactly what he's capable of—he's a total badass. I genuinely want to see him in more leading roles in high-quality films rather than just being relegated to supporting parts in good movies; he deserves much better than that. Honestly, screw both Jason Statham (I can't stand the guy—I'll say it publicly: I absolutely cannot stand that puffed-up English actor) and Vin Diesel. I've had enough of Diesel too, even if he isn't quite as grating as Statham.

We are talking about the new guard of "bad motherfucker" actors here, and Frank Grillo definitely earns more screen time. Whether you agree or not, that's my take. In my view, he's superior to those other two—at least to me—because he possesses a much better charisma and presence. Sometimes, I truly don't understand how things work in Hollywood.

2. Aside from that, this is just a fundamentally good film. Like I said. 🙂

Speaking of Grillo—since it's painfully obvious that he's my favorite actor (it should be clear from the way I fly, I suppose)😁, I am hoping for a decent horror-thriller like Demonic (2015) . The premise sounds great, though I don't have much faith in director will Canon. I suspect the film might struggle precisely because of that one element—the director.

cosmiclynx57 said:Nah, it really isn't. I mean, sure, maybe for the first one, but you can't claim the exact same idea is "original" twice, haha—you actually made me laugh there! 😁

I mean, even the first one had potential; they just totally dropped the ball on fleshing out the story and the characters. It’s such a shame, really, because they had this killer premise but then completely botched the execution. It’s like being handed a shiny new Mercedes-Benz, but instead of finishing it properly, you just slap some cheap finger paints from a kindergarten kit on the body and try to bolt on some wheels without actually tightening the bolts... so what happens? The wheels just fly off after driving a few feet, right?

But hey, fair enough. Much respect for your opinion though! 😉

Look, I don't care about the first part. The concept itself is original, and the fact that they turned that original idea into garbage in the first film doesn't bother me—I couldn't care less about a single bad entry. That idea finally found its true expression in this second movie, so... technically, it's original. 😁

cosmiclynx57 said:@wiredraven82, did it bug you that those masked creeps were basically just wasted potential?

Honestly, it kind of ruined the whole vibe for me because I was expecting these guys to be absolute motherfuckers who actually strike fear into people's hearts, but instead, they were just... there.
It felt like watching Alien and waiting for the Xenomorph to show up and absolutely wreck everyone, only to have some tiny little facehuggers scurry around instead. You know what I mean?

Look, it didn't bug me nearly as much because the movie is trying to make a point—specifically, that we might not truly understand the darker nature of humanity, or how a legal framework like this might actually appeal to the masses and the government alike.🙂

It’s brutal. You have the lead—Frank Grillo—who isn't strictly a hero or a villain; he’s a decent guy who’s been pushed so close to the edge by life that he’s flirting with the dark side🙂—but he still tilts toward doing the right thing, stepping up to protect the innocent amidst all that literal Anarchy...

The concept itself feels fresh. I thought the first one was garbage, but this one was a super film...

But hey, what do I know? I respect everyone's individual take.🙂

The only reason I landed on a 7.5/10 instead of an 8/10 is that I really feel like Grillo should have just finished off that piece of trash at the end.

Personally, I thought this was an excellent film... truly excellent... as far as I'm concerned, it gets a SOLID 7.5/10, regardless of what anyone else thinks.

It’s pathetic how much garbage gets a 7.5 or even an 8 these days, yet this takes a 6.5? Truly sad...

The movie is actually terrifying—it gives you chills thinking about the horrifying possibility of a government having the power to do something like that...

I also have to say that Frank Grillo is just awesome to watch. I think he suits roles where he plays the protagonist (even with a dark past) much better, like in this film, and I believe he deserves way more roles like this. He was fantastic in Warrior 2011 too—in my opinion, he needs more quality films where HE is the lead, just like in this one.

He is one of those rare modern actors whom I can honestly call a BAD MOTHER FUCKER because of the way he commands the screen; the man has actual presence and CHARISMA.

Anyway, super film. I say "super" because I really wasn't expecting it to be this good. I watched it about six months ago, and today I’m going to watch it again 😁

SUPER FILM 👍

By the way, Frank Grillo would be the perfect Punisher (he shares the name with Frank Castle, after all), and it honestly pains me to see Grillo in Captain America—he’s just a supporting character there, and I'll say it AGAIN, Grillo doesn't deserve that. Even if "Captain America" were part of the Fantastic Four, it wouldn't matter—FRANK GRILLO OR THOMAS JANE ARE THE PUNISHER; there simply isn't anyone better for the role.

Man, whenever I just imagine Grillo in the Punisher outfit, everything screams: THAT IS THE REAL PUNISHER. He is absolutely perfect for the part.

redtiger10 said:This is just an unnecessary thread from a hyperactive forum user—everything here has already been lamented to death.
http://www.example-us-forum.com/showthread.php?t=13418

And there it is—my first vote in being labeled "hyperactive."
I explained my reasoning for opening the thread, and besides, a discussion like this can always serve as a general hub for talking about the Predator price and the movies in general.

neondriver7 said:For me, nothing beats the original Predator. It’s easily my favorite entry in the entire franchise.👍

It would essentially be a ranking.👍

Predator.
Predators
Let’s talk about Predator 2. It’s one of those films that people love to tear apart—usually because they expect it to be a carbon copy of the original—but if you actually sit down and look at what it’s trying to do, there is a lot more going on under the hood than most casual viewers give it credit for. The shift in setting alone changes the entire DNA of the series. Moving from the dense, green jungle to the concrete labyrinth of a sprawling American metropolis like Los Angeles completely alters the tension. In the first movie, the threat was primal—nature versus man. Here, the Predator is an urban hunter, navigating skyscrapers and subway tunnels. It turns the hunt into something much more claustrophobic and unpredictable. You aren't just worried about being ambushed by a bush; you're worried about the predator being anywhere from a penthouse balcony to a dark alleyway. Then there’s the matter of the creature itself. The evolution of the design is interesting—it's more "alien" now, less purely animalistic, which adds this layer of sci-fi mystery that wasn't as present before. Some people find the pacing a bit off, and I get that—it doesn't have that same relentless, driving momentum as the first one—but I think the slower build-up allows the sense of dread to settle in. It’s less about the adrenaline spike and more about the creeping realization that the city itself has become a hunting ground. I know it won't win any popularity contests against the original, but if you approach it as its own distinct entity rather than a sequel meant to repeat a formula, there’s a hell of a lot to appreciate. It’s gritty, it’s messy, and it’s got a specific atmosphere that sets it apart from almost everything else in the genre.

I don't even consider the Alien vs Predator movies to be part of the Predator franchise—not in my book. As far as I’m concerned, both of them were absolute disasters.👎

👍

You really should have included that secondary voiceover from Predators—it’s honestly painful watching it like this without the audio track to ground the scene. 🤣

Richard Wilson4 said:Maybe, though I don't see any reason why he'd show him any mercy 🤔

I've seen the movie dozens of times—the guy definitely killed him.

hollowsailor19 said:This is easily one of the most pointless threads I've ever seen.
The winner was obvious from the jump. Of course it's the original from 1987.

Obviously it's predictable—but as I clearly stated in my opening post, I wanted to see what everyone else’s second favorite was, which is why I enabled multiple votes. Yet, everyone is just slamming their vote into the 1987 version. Honestly, I find it hard to believe that not even one person here found Predator 2 or Predators worthy of a secondary vote. But fine.

In other words, people have spoken regarding Predator 2, but I truly expected the competition to be between Predator 2 and Predators—and who knows, maybe some would have even picked AVP 2004 as a runner-up. That's all this was meant to uncover, which is why I set up the poll with primary and secondary options to capture those nuances.

Check out this fan project—a group of guys put together this piece on a $500 budget, and honestly, you have to respect the hustle:

Untitled Predator fan film

Whether people agree or not, I think this would be a killer concept for a future Predator movie. Seriously, give them credit—the idea of dropping a Predator right into the middle of a WWII battle, specifically pitting Americans against the Japanese in some remote Pacific jungle... it’s a solid premise, definitely not a bad direction to take 🙂

But looking at the work regarding Alien, you really have to hand it to them for the effort 🙂 It’s genuinely refreshing to see someone show this much passion for a film.

Joshua Hall4 said:Regarding the original Predator, I don't have much to add other than noting it’s one of my absolute favorite films of all time—it serves as a constant source of inspiration whenever I try to mimic some of Schwarzenegger's most iconic lines 😁.

You wrote a great post, but this specific part really caught my eye. I assume you've already heard the songs based on Schwarzenegger's movie quotes, but this one is easily one of the best, haha:

IF IT BLEEDS WE CAN KILL IT - SONG hahaha, I highly recommend anyone who hasn't heard it to give it a listen 😁.

Joshua Hall4 said:Then there's Bill Paxton and his legendary "Come on motherfucker. Let's Dance." delivered right to the Predator during the heat of battle, just moments before he goes out 🙏.

As for the Alien vs. Predator films, I'll pass on commenting on those ☕.

👍Like I said, Bill Paxton was a total legend—he's the only guy to get taken out by Terminator, Predator, and Alien
.

Alright everyone, I’ve set this up so you can vote for multiple options—mostly because I’m certain Predator will take the win here. It’s pretty much the consensus that the 1987 original is our gold standard; it's a total Cult film. That said, I’m genuinely curious to see what else you guys consider the best entry in the franchise. Please try to limit yourselves to two votes if possible, though I won't stop you if you absolutely have to go for three.

I also included those two Alien vs. Predator movies. Even though they don't really connect to the main lineage, well... they still feature Predators, so they had to be here. Now, let me lay out my own ratings and thoughts on the whole lineup:

Predator (1987) - 9.5/10

This is easily one of my top 15 Sci-Fi films of all time. It's one of those rare gems you could watch once a month for an entire year and never once feel like you're wasting your time...

I've seen it... man, I must have watched it at least 30 times by now, haha. Seriously. 😁

I also have a massive nostalgic connection to this movie because it was the very FIRST film I ever rented from a video store—back in the mid-90s, back when that was actually a thing.

The film delivers everything you want from a movie like this. Everything. Period. You've got an elite special forces unit dropped into the jungle on a mission, only to run headfirst into an Alien—well, a Predator—that hunts humans for sport. It's just... WOW. FUCKING YEAH. Honestly, it's peak cinema. I absolutely love the atmosphere, and even today, the design of the Predator still hits hard. The concept of the creature is flawlessly executed in every single aspect.

Every character has a distinct personality, and not once does anyone feel like filler. In fact, there isn't a single boring moment in the entire runtime; everything feels perfectly paced and positioned. It’s just masterfully done.

The tension is relentless from start to finish, the score is incredible, and the structure—from the setup to the climax—is flawless.

Throw in Schwarzenegger's sheer charisma ("Get to the CHOPPA!", "If it bleeds, we can kill it"), and what more is there to say? It's a masterpiece. For me, this is the definitive Cult film.

Moving on:

Predator 2 (1990) - 7.5/10

This was a staple of my childhood. I used to hunt it down at the video stores and watch it constantly. I haven't revisited it quite as often as the first one, but I'd say I've seen it at least 10 times.

It obviously couldn't touch the original, but I actually dig the decision to move the setting to the city. Danny Glover gives a rock-solid performance, the characters work well enough, and what can I even say about the perpetually unhinged Gary Busey? Hahaha. That guy was always playing some high-strung character in every movie he was in—usually shouting things like "I'm gonna save your ass!" at Glover. 🤣

It's a well-constructed film. I'm not sure why the reception on IMDb wasn't higher, because in my book, this is a very solid effort that deserves a 7.5/10.

Next:

Predators (2010) - 7.5/10

I'm giving this the same score as Predator 2, but I'm ranking it below the second one simply because of that childhood nostalgia factor.

That being said, I actually thought it was a pretty good flick. It definitely captures that Predator essence. Specifically, that fight between the Predator and the Samurai (Yakuza style) was freaking awesome... maybe it's just my affinity for old-school Japan and Samurai culture, but that scene was perfect.

The rest of the movie is decent to very good. The characters felt right, and you can tell the director was trying to pay homage to the original without making a carbon copy.

I have to admit, though, I wasn't a huge fan of the whole "big Predators vs. small Predators" concept. I suppose it's a matter of taste, but personally, I didn't see the point. To me, it felt unnecessary.

Look, let’s be real—it isn't exactly a disaster, but it's not exactly anything to write home about either. It didn't exactly knock my socks off, though if I'm being honest, it left a bit of a bad taste in my mouth. I found myself sitting there thinking, "What's next? Are we really going to see even bigger predators than these guys?" Honestly, what kind of mess are we dealing with here? WTF. 😲Alright, fine. Let's get into it.

The whole concept of dropping soldiers from different corners of the globe onto a foreign planet was actually a solid premise—it had potential. But I honestly cannot wrap my head around the sheer stupidity of the characters' situational awareness. How on earth do you miss a massive celestial body hanging in the sky? They had multiple opportunities to look up and see it, yet somehow they missed it entirely. I mean, seriously, how do you fail to notice a planet the size of Jupiter looming overhead unless you’re standing on some specific, isolated cliffside at the edge of a jungle? It makes zero sense. WTF?

Unless we’re talking about a planet that rotates differently or somehow orbits multiple suns—which would be a wild scenario to wrap one's head around—I don't see how that works. If that were the case, how would you even account for nightfall? It just doesn't add up. Honestly... WTF. 😁 Doesn't matter. 🤣

To be perfectly honest, I don't think Adrien Brody was quite the right fit for that role—I mean, look, he did a decent enough job, but... I don't know... it just didn't hit the mark. It wasn't quite there.

All things considered—and I’ve given this a fair amount of thought—I actually walked away from the film feeling pretty satisfied. It wasn't perfect, but it certainly hit the mark for me. If I had to put a number on it, I'd say it earns a solid 7.5/10.

Let's keep this moving.

AVP 2004 - 7/10

Look, I don't hand out high marks easily—certainly not an eight or a nine, which aren't even on my radar—but let’s be real here: regardless of what anyone else is claiming right now, this movie wasn't half bad.

I remember back when this was first hitting theaters—before I even stepped foot in the cinema—the sheer amount of hate being thrown at it online was relentless. People were absolutely trashing it everywhere, and honestly, it made me brace myself for some kind of absolute disaster. I went in fully expecting to witness a complete train wreck—something that would be bottom-of-the-barrel garbage—but instead, what I actually got was just a solid, decent movie.

To be perfectly honest, I found the movie entertaining—even if it’s riddled with flaws. There's that constant, heavy-handed push to force the whole Alien vs. Predator concept, though we shouldn't forget that they actually planted the seeds for this crossover way back when they showed that Alien skull sitting among the Predator trophies in Predator 2.

To be honest, I found the film to be quite charmingly executed. As someone who actually works in archaeology and history, I found the whole mystery surrounding the pyramids—and even the specific choice to make one of the lead characters an Italian archaeologist—to be a really nice touch.

The fights between Alien and Predator were executed quite well—honestly, I didn't even catch any noticeably bad CGI, which was a pleasant surprise. The characters were all alright, though that one guy from Scotland really got under my skin; I found myself sitting there practically rooting for an Alien or a Predator to just take him out and get it over with.

Look, this movie definitely has its flaws—I'm not going to sit here and pretend it's perfect—but honestly, people tend to be way too negative about it. They blow the downsides out of proportion. As far as I'm concerned, it's an OK FILM. I mean that quite literally: it’s an OK FILM. I’ve sat through it three times now, and it holds its own.

And finally, bringing up the rear in last place:

Alien vs. Predator: Requiem (2007) — 5.5/10

I’ll keep this brief—mostly because I don't feel like wasting any more breath on this thing—but here it is: it was absolutely terrible.

That’s that.

I’m saying this once more—and I really mean it—if you don't mind, please just vote for two movies. Two options. No more than that—unless, of course, you absolutely feel the need to pick three.

When someone truly embraces that inner essence—that core part of themselves—their physical body might falter, BUT THE SPIRIT REMAINS UNBREAKABLE.

This is a solid poll...

Look, it’s not even that the Hobbits don't fit on the same page as LOTR—it’s more that they don't feel like they belong in the same universe. It’s almost as if we’ve stumbled into some parallel dimension where Peter Jackson was working with a much better version of the Hobbits, but I won't get sidetracked by that right now. Don't get me wrong—these aren't total disasters (The Hobbit)—especially not the third installment, which, in my opinion, is far from a failure. They just aren't on the same level as LOTR. Period. 🙂

When it comes to the LOTR films—though, let’s be honest, I absolutely adore all three of them—my absolute favorite has always been the first installment: LOTR The Fellowship of the Ring. The Lord of the Rings: The Fellowship of the Ring 👍 While I consider every single entry in the LOTR Trilogy to be top-tier, there is something about that first installment—something truly special—that I just can't quite put my finger on. It’s hard to articulate; you know how it is when something hits you so deeply that words feel insufficient? You just have to experience it. Honestly, I’ve lost count of how many times I’ve sat through all three films—I’ve probably watched them hundreds of times at this point. Whenever I have the chance to host a dedicated LOTR night or finally find a block of free time to run a full marathon, it’s always that opening sequence that does it for me. That initial immersion into the world through the intro... man, it’s an experience you just can't put a price tag on. LOTR The Fellowship of the Ring

Here’s how I’d rate all of these films:

The Hobbit: An Unexpected Journey - 7/10
The Hobbit: The Desolation of Smaug - 7.5/10
The Battle of the Five Armies: 8/10
The Lord of the Rings: The Fellowship of the Ring - 10/10
The Lord of the Rings: The Two Towers - 9.5/10
The Lord of the Rings: The Return of the King - 10/10

Everything is under control—my apologies, my little one decided to go to war with my keyboard haha 🤣, because once I swapped out that old clunker for a new one, everything started working perfectly again.

Someone please help me—I have no idea what is happening to my computer. I can't even type on it properly, so I’m stuck writing this from my laptop...

I have an eighteen-month-old at home, and my wife told me that while I was out at work today, the kid was banging all over my keyboard. Apparently, something went haywire with the system...

The whole thing started when I realized my desktop orientation was flipped sideways; I managed to fix that using the "landscape" setting, but the keyboard itself is absolutely losing its mind:

Instead of opening the taskbar, CTRL + ALT + DELETE just shuts down the computer. Pressing the number 4 key turns the machine off entirely—for heaven's sake, help me here... The letter C doesn't work at all, the command key (with the macOS icon) SHUTS DOWN THE COMPUTER instead of pulling up the Start menu, and hitting the down arrow rotates my desktop screen to the left, so I have to keep flipping it back. The up arrow puts the PC into SLEEP MODE, and hitting ALT just launches the calculator... WHAT IS GOING ON????? What could a toddler possibly press while slamming the keyboard to cause this level of chaos? I need this computer urgently and right now I practically CAN'T USE IT AT ALL!!

Someone please help me—I have no idea what is going on with my computer. I can’t even type on it properly, so I’m stuck typing this out on my laptop instead...

I have an eighteen-month-old at home, and apparently, while I was away at work today, she decided to go to town on my keyboard. My wife told me she was banging on it, and now the whole thing has completely lost its mind...

The whole mess started when I realized my desktop orientation was upside down; I managed to fix that using the "landscape" setting, but the keyboard itself is an absolute disaster:

Pressing CTRL + ALT + DELETE doesn't open the task manager—it just shuts the computer down. The number 4 key triggers a shutdown. For heaven's sake... the letter C won't even register, and the macOS key (with the icon) shuts the machine off instead of opening the Start menu. When I hit the down arrow, it rotates my desktop image to the left, forcing me to rotate it back again. The up arrow puts the computer into Sleep Mode, and hitting ALT just launches the Calculator... WHAT IS HAPPENING????? What on earth could my toddler have pressed while she was smashing the keys to make everything malfunction like this? I need this computer urgently and right now it is practically USELESS!!

Richard Wilson4 said:But back to the 90s—the comedies were top-tier, whereas nowadays they're pretty weak.

On the flip side, you've seen a total renaissance of comedy series over the last 6 or 7 years (though it sucks that this revival seems to be fading out over the last two).

There are good movies today, sure, but I really don't think there's ever been as many great drama series as there are right now. Not in terms of pure quality.

Comedy series are an entirely different beast altogether...

I’ve never actually viewed them as "series" in the traditional sense; I strictly categorize them as "comedy series." And when you look at it through that lens, there isn't a soul—heaven or hell—in the entire world of television comedy that will ever come close to the level of Seinfeld or The Sopranos.😁

wiredraven82 said:

Bradley Wood43 As follows:
I see the debate over soap operas has officially kicked off around here... so let's actually define what makes a series a "soap opera." And no—I’m not talking about those mindless, endless daytime dramas meant for bored retirees or people looking to zone out while doing chores. We're talking about something with actual substance.

Listen, just because you throw in a few flashes of insight regarding a specific individual doesn't make a series a masterpiece—it certainly doesn't turn it into some high-brow soap opera. I get what you're driving at—you think that by centering an episode around one of the main characters to "showcase" their psyche or add a layer of depth—as if that sudden peek behind the curtain is some revolutionary storytelling move—that you've suddenly elevated the material. It’s a common misconception. Diving deep into a character's motivations isn't a shortcut to quality; it's just basic character development, and when it's done poorly, it feels forced and hollow.

But seriously—if that kind of behavior becomes the standard for an individual... man, just... non, god damn, stop. 😁 It’s happening almost non-stop lately—and I’m not just talking about that one specific character. It eventually bleeds into the rest of the cast, too. They start centering entire episodes around these central premises or debates that, quite frankly, my friends and I wouldn't have even given a second thought to back when we were teenagers.

To be clear—when I used the term "soapmaker," I wasn't actually referring to someone who manufactures legitimate bars of soap. 😁 Look, you already know how this goes... 🙂

Take *Battlestar Galactica*, for example—you had Baltar, and honestly, I lost count of how many episodes were dedicated solely to him. It was all centered around his specific personality traits. Look, I’ll be the first to admit it: the guy is a complete mess, a total wreck, yet somehow he’s a genius. I don't necessarily care for his character—honestly, just move the plot along already—but eventually, the show branched out to the rest of the cast. Still, there were seasons where it felt like nearly every single episode was just an endless loop of character studies—just constant, nonstop deep dives into their psyches and those tedious, soap-opera style conversations happening on the ship.

I honestly think I must have been heatstroked while I was watching Battlestar Galactica—specifically that sequence where they hit the Pegasus, right before some damn hurricane finally tore through their precious little Parlor inside the ship.

There’s this specific trope in television—let's call it the "Soap Opera Element"—where a show decides to just spin its wheels and stay stuck in one place. It becomes incredibly frustrating when the core concept itself is supposed to be about constant evolution or survival—take *The Walking Dead*, for instance. If you’ve followed that series, you know exactly the stretch I’m talking about. Honestly, there was a point where I almost walked away from *The Walking Dead* entirely because I just couldn't stomach it anymore. For an entire fucking season, it felt like the actual zombies had vanished from the face of the earth. Instead of any meaningful progression, we were forced to sit through endless, repetitive filler centered entirely around the characters' "personalities" and their petty little social hierarchies. It was just people posturing and circling each other for an entire season without any real momentum. It’s exhausting. 🤣

And what’s truly infuriating about the whole mess—what really grates on my nerves—is that we aren't even being fooled. We all know exactly why they’re pulling this stunt. It’s nothing more than a transparent attempt to hit a specific episode count for the season or satisfy some arbitrary production quota, but frankly, I’m not buying it. It's lazy, and I refuse to pretend otherwise.

Look, I’m not suggesting that a series shouldn't have an occasional "monster of the week" episode here or there—I mean, even Star Trek: The Next Generation did that from time to time to keep things moving. But when that formula starts eating up half a season, or worse, becomes the entire skeletal structure of the show—just look at Battlestar Galactica—then we have a serious problem. 🙄Look, at the end of the day—and that’s just my take on things—that kind of stuff isn't for me. I'm not out here looking for a consensus or begging anyone to see things from my perspective. That's just how I feel. 🙂

Bradley Wood43 said:Hmm, I feel like what you’re saying could apply to pretty much any series out there. Personally, I don't see how deep characterization is a bad thing, and honestly, having that extra layer in Battlestar Galactica—like what you mentioned—wasn't a bad thing at all. Sure, there were a few episodes where they really overdid it 🤦, but it stayed within tolerable limits...

Regarding The Walking Dead 😬, I'm with you on that... they absolutely suffocated us in the second season. They leaned way too hard into the interpersonal drama—who likes whom, who's changed, who's siding with who and why... it got tedious, but hey, if the show was just about "let's go kill zombies, every single episode, en masse," we would have burned out on it immediately...

It just doesn’t work that way—take The Twilight Zone (the original, obviously) for example. Look, we all know how The Twilight Zone operates; every single episode stands entirely on its own. But that is exactly why your logic fails here. 😁

The same goes for The Sopranos. Like I mentioned before, the show just... flowed. It didn't latch onto one specific character and incessantly ramble about them; instead, it unfolded "on the fly," so to speak. You gradually grasp who people are and what they represent. Of course, they centered everything around Tony Soprano since he's the lead, but there was never any of that "brainwashing" nonsense.

The moment Richie Aprile got out of prison, I understood his entire deal within two minutes. 🤣
Just an example.

You can't apply this to The X-Files either. In The X-Files, it was only at the end of the seasons that the actual skeletal framework of the story would emerge—which, by the way, was excellent and definitely wasn't some soap opera drivel. That skeleton was basically the Cigarette Smoking Man and his crew against Mulder and Scully; in the meantime, Mulder and Scully were busy resolving individual paranormal cases.

Sure, okay, there were a few episodes that felt a bit like a soap opera, but truly, very rarely... maybe one per season if you're being generous.

Do you remember when they did that one episode specifically focusing on the Cigarette Smoking Man in The X-Files? The way they revealed just a sliver of who he actually was—that was masterful.

And so on... there are plenty of other series, of course, that don't fall into this "soap opera" trap that drags on for an entire season (or two), and sometimes it serves as the backbone for the whole series—like Battlestar Galactica. 🙄