Now Watching...

off-topic conversation unrelated to Jane's Addiction
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Re: Now Watching...

#261 Post by creep » Thu Nov 23, 2017 4:32 pm

I'm two episodes in on Godless on Netflix. I think it's great but I love shit like this. Anyone else watching it? You should. Jeff Daniels is really good in it.


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Re: Now Watching...

#262 Post by Hype » Fri Nov 24, 2017 8:34 am

I binged 'Atypical'. I liked it, but something about it was bugging me. There was a review that kind of hit it on the head: this isn't *really* a show about autism. It's a show about a decent-looking kid portraying an awkward teen with high-functioning autism (basically Asperger's, though I think this case is a bit more pronounced than that), and his somewhat fucked up family. There are no serious attempts to show characters with more serious forms of autism.

The sub-plot with the mother and the bartender irritated me, but I guess I understand why they felt they needed that in the show (still, it feels a little bit too cartoonish/Nurse Jackie-ish).

I've always liked Michael Rappaport. His character is great. A lot of the others seem a bit too shallow -- they're playing archetypes rather than actual people.

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Re: Now Watching...

#263 Post by SR » Sat Nov 25, 2017 7:48 am

[quote
I've always liked Michael Rappaport.[/quote]Confusing. How? As an marginal actor? As a time filler loud mouth guy on sports/live shows like The View/Good Morning America, ESPN NY baseball shows or in this show as the confused victimized husband/contrite former shitty abandoning husband?

I see your point about the show in general, though I enjoyed the show; it's not Shakespeare, but I thought the choice of MR as the sympathetic character in terms of casting was weak.....though even for him, he over delivered :lol: :lol:

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Re: Now Watching...

#264 Post by Hype » Sun Nov 26, 2017 1:27 pm

SR wrote:
I've always liked Michael Rappaport.
Confusing. How? As an marginal actor? As a time filler loud mouth guy on sports/live shows like The View/Good Morning America, ESPN NY baseball shows or in this show as the confused victimized husband/contrite former shitty abandoning husband?

I see your point about the show in general, though I enjoyed the show; it's not Shakespeare, but I thought the choice of MR as the sympathetic character in terms of casting was weak.....though even for him, he over delivered :lol: :lol:
I liked him on Boston Public. Actually, I liked Fyvush Finkel a lot more. Probably it's just that the rest of the actors are mediocre. :lol: Also I added too many Ps in his name. :scared:

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Re: Now Watching...

#265 Post by SR » Tue Nov 28, 2017 9:24 am

Ya know, not so fair on my part. Come to think of it, I can't recall ever seeing him act in anything else....but he's ubiquitous in tons of sports shows for some reason as a "regular guy" talking head. I've have even seen him recently railing against trump which I had to turn immediately off.....he's always the loud mouth pipe fitter guys type who's proud he read the cliff notes and cheated on the math tests to get by in hs to pass kind of guy I can't stand type.

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Re: Now Watching...

#266 Post by wally » Tue Nov 28, 2017 12:56 pm

big mouth on netflix is hilarious

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Re: Now Watching...

#267 Post by Juana » Fri Dec 01, 2017 1:50 am

creep wrote:I'm two episodes in on Godless on Netflix. I think it's great but I love shit like this. Anyone else watching it? You should. Jeff Daniels is really good in it.

This is next up on the list I just rewatched Punisher, and the better half wants to finish Frontier's new season first.

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Re: Now Watching...

#268 Post by Artemis » Sun Feb 18, 2018 7:27 pm

Anybody watching Counterpart?

I think it's pretty good. Sunday night on Starz.




http://www.denofgeek.com/us/tv/counterp ... oiler-free

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Re: Now Watching...

#269 Post by creep » Sun Mar 25, 2018 8:22 pm

I liked the first episode of Barry on HBO.


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Re: Now Watching...

#270 Post by creep » Thu Mar 29, 2018 8:43 pm

Wild Wild Country on Netflix was really interesting. Being in a cult looks fun for a while but something bad usually happens in the end.

The first episode is a little slow but then it gets good.


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Re: Now Watching...

#271 Post by Artemis » Tue May 01, 2018 12:09 pm

Killing Eve is pretty good. It's on BBC America on Sundays at 8pm

"A security operative hunts for an assassin. Based on the Villanelle novellas by Luke Jennings."





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Re: Now Watching...

#272 Post by chaos » Thu May 03, 2018 10:06 am

Artemis wrote:Killing Eve is pretty good. It's on BBC America on Sundays at 8pm

"A security operative hunts for an assassin. Based on the Villanelle novellas by Luke Jennings."





I binged this show. It's decadently quirky. I think the actress who plays the assassin, Jodie Comer, is great. I've seen her in only one other role: Ivy, in the BBC mini series Thirteen.

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Re: Now Watching...

#273 Post by Artemis » Thu May 03, 2018 11:28 am

chaos wrote:

I binged this show. It's decadently quirky. I think the actress who plays the assassin, Jodie Comer, is great. I've seen her in only one other role: Ivy, in the BBC mini series Thirteen.
Yes, Jodie Comer is really good. I first saw her in the show My Mad Fat Diary.



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Re: Now Watching...

#274 Post by clickie » Mon May 07, 2018 3:23 am

This new show coming out soon has a lot of hype behind it.




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Re: Now Watching...

#275 Post by creep » Sat May 12, 2018 6:35 pm

Evil Genius is a really interesting 4 part documentary on Netflix about a crazy bank robbery and a few murders. Check it out. :thumb:


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Re: Now Watching...

#276 Post by MicrowavedGerbil » Sat May 19, 2018 3:15 am

Watching the karate kid (1984) for the billionths time this year and learning each time I watch it that Daniel is the true villain..

https://youtu.be/szUHIM-jgls

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Re: Now Watching...

#277 Post by creep » Sat May 19, 2018 3:25 pm

Safe on Netflix was really good. It was weird that Dexter has an english accent.


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Re: Now Watching...

#278 Post by Artemis » Mon May 21, 2018 5:36 pm

Check out Patrick Melrose.
Benedict Cumberbatch is so good in this!





https://www.theatlantic.com/entertainme ... ew/560009/
Patrick Melrose Is a Lacerating Tour de Force
The new Showtime adaptation of Edward St. Aubyn’s novels stars Benedict Cumberbatch as an Englishman ravaged by trauma.

The genius of Edward St. Aubyn’s five Patrick Melrose novels is in how relentlessly they amalgamate horror and beauty. The loosely autobiographical series—once named the Melrosiad by a Guardian reviewer—depicts child sexual abuse, drug addiction, alcoholism, and a smorgasbord of emotional torture, but does so in such entrancing prose that it insulates the reader from the unbearable. Heroin, in St. Aubyn’s writing, is “as soft and rich as the throat of a wood pigeon, or the splash of sealing wax onto a page, or a handful of gems slipping from palm to palm.” The failure of a love affair is when “the jeweled daggers that used to pierce one’s heart are replaced by ever-blunter penknives.” Patrick’s mother, deliberately myopic to her husband’s abuse of her son, is “perfectly preserved in the pickling jar of money, alcohol, and fantasy.”

The question for a television adaptation, then, is how to translate this layer of literary embellishment for the screen, with infinitely fewer words to work with. Patrick Melrose, which debuts Saturday on Showtime in a five-part miniseries starring Benedict Cumberbatch, pulls it off. In the hands of the screenwriter David Nicholls and the director Edward Berger, the distancing device of metaphor is replaced with lush, hypersaturated imagery. There’s a savage kind of beauty in the way a mustard-colored velvet slipper crushes a ripe fig into the dusty ground, and in a bright-red spot of blood that forms in the crook of Patrick’s blue-and-white striped shirt.

With the exception of the fourth installment, each of the Melrose novels takes place in a single day, a structure that lends itself neatly to episodic television. Nicholls switches the order of the first two books so that the miniseries starts with Bad News, in which a heroin-addled, 20-something Patrick is informed that his father has died, and is summoned to New York to pick up the late David Melrose’s ashes. It’s an effective trick that prolongs the inevitable question as to why Patrick is so hopelessly lost and miserably self-anesthetizing. Then, in the second episode—set at one of the Melrose family homes in the south of France when Patrick is a child—we find out.

Adapting the Melrosiad is a passion project for Cumberbatch, who once described Patrick alongside Hamlet as the two roles he desperately wanted to play. The books are somehow both intensely honest (writing them seems to have been a relatively therapeutic way for St. Aubyn to exorcise his familial demons) and darkly satirical, lampooning the strangeness of the English upper classes with execution that only an insider could manage. The miniseries, arriving into a culture that typically has little sympathy for such crystallized white male privilege, delves deeply into the trauma that has fragmented Patrick’s mind in such brutal fashion. In the first episode, he’s boorish, entitled, and wafting catastrophe like cologne, but the show makes clear that these are just symptoms of the various ills that afflict him: abuse, addiction, and aristocracy.


“Bad News” feels at times like an unholy fusion of Evelyn Waugh and Hunter S. Thompson. Patrick flies to New York, checks into his regular Central Park–adjacent suite, promises himself out loud that he won’t take drugs, and then embarks on a bender only previously emulated by Keith Richards during the Exile on Main Street era. Berger conveys Patrick’s frightening mental decline in sharp color with rapid cuts between shots. But there’s exquisite comedy in his careless one-liners, with Cumberbatch wrapping Patrick’s morbid humor around himself like a protective coat. In one scene, when Patrick opens his father’s coffin, he puts on an affectedly chirpy voice and says, “It’s just what I wanted! You shouldn’t have.”

The second episode, “Never Mind,” depicts the first book in the series, and the one in which St. Aubyn got to the crux of what happened to him. David Melrose, played in radiantly sadistic form by Hugo Weaving, lives a sybaritic lifestyle in France in a house bought with his wife’s money. Eleanor Melrose (Jennifer Jason Leigh) is an American heiress whose ugly marriage seems to have driven her into a cotton-wool cloud of inebriation. She’s occasionally gentle and loving to her son, young Patrick (played magnificently by the newcomer Sebastian Maltz), but primarily weak and selfish. Nicholls allows Eleanor flashes of St. Aubyn’s mordant wit: Describing the family home to a guest, she says, “We were going to turn it into a house for alcoholics. Which, in a sense, we did.”

The moment when David’s acute savagery first becomes clear is when he shouts down from his bedroom window to a maid who’s carrying a tray of antique china, and silently relishes the way the plates clank in her shaking, terrified hands. He terrorizes his wife, who spends as little time in his presence as possible, and holds a dinner knife to a young woman’s bare leg under the table at dinner. But Patrick is the target for his most ferocious assaults, which Nicholls and Berger wisely decline to depict. David justifies his abuse as something that will necessarily harden his son for the world—a lie so deeply entrenched in the rituals of the British class system that it may never be excavated. “What felt like cruelty at the time was actually a gift,” David tells his son, in a tight, cut-glass breath. “Was actually love. I don’t expect you to thank me now.”

It’s only in the third episode that Patrick begins to get to grips with this cursed legacy: not just the assaults that shattered his childhood, but also the inheritance of casual viciousness and purposelessness that defines his social stratum. “Some Hope” takes place largely at a party where Princess Margaret (an acidic Harriet Walter) is in attendance, and the series draws more explicit parallels between the ghastliness of the event and the horror of Patrick’s life than the book does. Compared to the rosier portrayals of the British elite in The Crown, Patrick Melrose lacerates a class of people whom centuries of self-indulgence have calcified into callousness and toxic absurdity.

The miniseries is an achievement on two fronts. For one thing, it’s the most remarkably faithful adaptation of a series of books in recent memory, capturing the tone and the aesthetic of the Melrose novels without sacrificing cohesion. But Patrick Melrose is also darkly entertaining, veering between young Patrick’s anguish and older Patrick’s episodes of situational comedy without diminishing either. Cumberbatch—and Maltz—convey how trauma has ravaged Patrick’s psyche, but the series also hints that the cycle of violence handed down through generations of Melroses might end with him, and with his recovery and acceptance. “You don’t need to get so Californian about it,” Patrick says in one scene to his friend Johnny, who’s in Narcotics Anonymous. “There’s no need to be so English,” Johnny replies. And Patrick seems to agree.

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Re: Now Watching...

#279 Post by creep » Sun Jun 10, 2018 9:25 pm

I watched the first episode of the staicase on Netflix on Friday and 13 episodes later I'm all done. Releasing complete series at once is not healthy for me. Interesting stuff.


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Re: Now Watching...

#280 Post by chaos » Mon Jun 11, 2018 10:59 am

Artemis wrote:Check out Patrick Melrose.
Benedict Cumberbatch is so good in this!





https://www.theatlantic.com/entertainme ... ew/560009/
I binged this miniseries on Saturday. It was great, and Cumberbatch was outstanding. I hope he gets an emmy nod (among other accolades).

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