This movie is mostly well done and taught me about a historical event that I’d previously known nothing about. That (and its inclusion of a Norwegian actor I recognize from Okkupert) earns it some grace, otherwise I would find it a bit tedious for trying to stretch out a genuinely interesting story until it’s transparent and flimsy.

After watching the movie, I knew I needed to also read (or listen to) the book. I took a big break in the middle of the listening, and I still don’t know if I followed every single detail, but I appreciate the argument and spent a lot of time thinking about Ellulian technique.

A fun and worthy conclusion to the series! I am rating it slightly lower to channel all of my minor complaints from the whole series (and because many of them were present here), but it’s not bad at all.

On peut voir que je m’ennuie de mes podcasts en ce moment, car je continue à écouter cette série parfois ridicule mais toujours intéressant.

This got an interesting ending, but I don’t know if it’s a satisfying one. I appreciated some of the ideas it explored, though, so still a good(ish) rating from me.

J’ai fait une grosse pause en écoutant cette série, car l’appli Radio France est bien pénible, et ça m’a empêché de vouloir continuer. Regarder Quai d’Orsay m’a donné envie de reprendre la série, et puis j’ai enfin appris à me servir de la file d’attente sur l’appli pour rendre les choses… moins pénibles.

C’est donc une deuxième saison intéressante. J’aime la façon dont on fait de la fausse radio pour rendre plus intéressante une série radiophonique.

Still good, though I’m ready to get to the end of the story after some clear ratcheting up of tensions.

Nothing special about this volume, but it’s still good, and I’m very invested in the story now.

Still good art, still interesting story, still difficult to interpret “let’s treat robots as people” in a post-2022 world. That said, the Driller flashback in this volume helped me think more about how the folks who want us to believe AI models might be alive also want us to make those models do our work for us.

The art is still good, and the story is still interesting. It may not grab me as much as some other comics, but I see why it gets the praise it does.

Generative AI has made it very hard for me to enjoy a “robots are people, too” story in the way I used to, but this is good, and I’m looking forward to reading more!

Like the first issue, there’s enough here to like but also some I could have done without. The flashbacks work for me, but the story feels a bit rushed—and as though it will need to rush more if it’s going to conclude in issue 3, as seems to be promised.

Imagine taking Star Wars, putting it in a blender with other sci-fi franchises, and then slapping an R rating onto what the results. It mostly works, especially because it’s so transparent about that being its approach, but as dumb as it is for Star Wars to pretend that its blasters can bloodlessly kill the bad guys, I prefer that to seeing the gory results of this series.

The premise of this comic—girls and women violently resist werewolves who are a mix of feminist metaphor and supernatural phenomenon—is not quite my jam, so I don’t worry about not having any more volumes of it. It’s quite good, though, and I liked it more than I expected from the first few pages.

This felt like a real rollercoaster of a read. As a child of the 90s, I knew the Jim Carrey adaptation of this (and the animated adaptation of that) existed, but I never encountered them. At some point, I learned that there was an original comic source to all of that, but I never expected to read it.

I approached the book with open curiosity, hated the first part of it, and then got mostly won over by the rest. It’s interesting in art and premise, it is dark without being too much so, and I appreciate it for what it is.

My experience of the 2008 financial crisis was an interesting one. I was living abroad as a Mormon missionary, with all my bills paid for by the church (and, indirectly, my parents, who footed the costs that all Mormon missionaries pay). I lived in a bubble of religious purpose wrapped in a bubble of privilege, and it rarely occurred to me that there was real economic crisis happening around me (and all this despite reporting to someone recently retired as a high-ranking executive at Fannie Mae).

Vampire stories aren’t really my thing, but as far as vampire stories go, this is a good one! 90s New York is an interesting setting, I like the cultural shake-up, and the art is a lot of fun.

I’m glad I watched this, but I was surprised to not enjoy it as much as expected. Part of it is the usual caveat of watching on my phone while doing chores, and part of it is age (in that its innovation has become mainstream and in that John Cleese has really taken a scary turn). Yet, I’m glad I watched it, and I’m ready to watch some other Python stuff.

Horror is not at all my jam, but I’ve recently discovered analog horror, which works better for me. I didn’t like the gorier aspects of this movie, but I did find that it captures what I like about Parsons’s original short—and the genre of analog horror in general.

Also, if it wasn’t intended to be a commentary on generative AI, it sure stumbled right into that. A “poorly remembered” reality that produces extra fingers and may be dangerous to humans but whose creators think is the most important thing for us to understand today? C’mon.

Okay, so I didn’t actually read the final TPB. I cobbled together individual issues from hoopla (boooo, hoopla) but couldn’t be bothered to review them individually.

That’s probably good, because I didn’t like the first issue at all—I had trouble remembering what had happened in the previous TPB and struggled to get back into the plot. I still think the plot is kind of dumb, but reading the remaining issues reminds me that I like Guillory’s characters, art, and clear personal investment in this story. I’m being generous with my rating, but I think he’s earned it. (Chew is still too weird for me to try, though).

There’s so much about this series that shouldn’t work. The protagonist is clearly meant to be feminist but borders on angry manhater and is clad in typical comic book superheroine attire. Would it surprise you to know the creative team is all male?

Yet, for all of its very clear faults, there’s something about it that works? Or at least that I found to be an engaging read. Maybe there’s something here under the problems, or maybe I’m just part of the problem. 🤷🏼‍♂️

Incredibly helpful collection of source documents (especially for a non-historian like me) but would not recommend to anyone that doesn’t have a specific research question. Not exactly a page turner!

It’s hard for a tv show to follow up on an amazing season 1 premise with a solid season 2. This definitely has some creaky spots in it at the beginning, but it works up to something that won my trust back. What a deliberately, excellently weird show this is.

I own a physical copy of this book but sold out to hoopla to listen to it over the weekend so I could say I’d finally read it. I appreciate just how practical this book is: outlining steps one can take rather than simply appealing to an abstract anarchist ideal.

I also felt a real tension while reading this. The ideals it sets out really speak to me, but the amount of work and commitment that it would take to actually follow these principles feels intimidating to me.

On one hand, this is the first manga I’ve read where I saw why the art form is as revered as it is. Good art, interesting premise (somewhat silly, but no more than XIII, which I love more than I should), and not too gratuitous (but still some).

On the other, I felt that it didn’t catch my attention for the whole volume, and I’m torn on whether I’d enjoy reading the next four.