Smells like Girlbusters

SJWs are running their usual routine of breathlessly talking up a heavily converged product that they know the mainstream audience isn’t going to like very much.

Ash Crossan, Entertainment Tonight video producer
Ladies and gentlemen we have an AMAZING villain. #BlackPanther was so good I can’t breathe. AND DANAI GURIRA HOLY F@$&?!?!? I LOVE this movie.

Geeks of Color
Black Panther is the best MCU movie ever. I was blown away from start to finish and I’m not even being biased. This was by far the best marvel movie to date. Thank you, Ryan Coogler!

jen yamato@jenyamato
BLACK PANTHER is incredible, kinetic, purposeful. A superhero movie about why representation & identity matters, and how tragic it is when those things are denied to people. The 1st MCU movie about something real; Michael B. Jordan’s Killmonger had me weeping and he’s the VILLAIN

Nate Brail@NateBrail
Black Panther is the best Marvel Film ever made. Nothing compares to it. Michael B. Jordan and Letitia Wright steal the show. The visuals are incredible. Go see it.

Adam B. Vary of Buzzfeed
BLACK PANTHER is just astonishing. Ryan Coogler has harnessed the superhero movie — and a really fun one! — to explore profound ideas and create vivid images of black excellence that so rarely ever make it to a giant Hollywood movie. Wow wow wow!

Peter Sciretta, owner/editor at Slashfilm
Black Panther looks, feels and sounds unlike any Marvel film to date. A visual feast. Wakanda is amazingly realized, the antagonist actually has an arc with emotional motivations. Marvels most political movie. So good.

IndieWire senior film critic David Ehrlich
BLACK PANTHER is like a Marvel movie, but better. the action is predictably awful, but this is the first MCU film that has an actual sense of identity & history & musicality. Wakanda is alive. whole cast is great but the women (and the war rhinos) steal the show — Danai Gurira!

Huffington Post Black Voices associate editor Taryn Finley
I’m so excited to see #BlackPanther again when I’m with friends. Not only did it live up to the hype, it exceeded expectations and exuded #BlackExcellence with every scene.

ReBecca Theodore-Vachon, Film/TV contributor Entertainment Weekly, Forbes, NYTimes, Roger Ebert, The Urban Daily
The representation of Black women in #BlackPanther made me feel seen. Seen in a way other superhero movies have not done well.

Now, perhaps the movie is genuinely good. Perhaps this time, the critics can be trusted and they aren’t simply blowing more SJW smoke up the collective posteriors of the moviegoing public. But the safe bet is that these critics are converged and have therefore lost their ability to perform their primary function of reviewing movies and it won’t be long before they are blaming racism, America, and the Alt-Right for the failure of the movie to bring in as much revenue as anticipated.

This is a really big deal to them, because they know that if Black Panther fails, there won’t be another big money diversity movie for another generation or two of movie-making. So it is not even remotely surprising that they are uniformly praising it the biggest and bestest and most importantest movie ever made.


Yeah, because THAT’S the problem

Someone who may or may not be Robert Downey Jr. speculates on a coming action by a company that may or may not be Warner/DC:

This studio has admitted internally that it has failed in its efforts at emulating the success of the one that now owns the world.  Their new secret plan? To “split” the properties into two divisions.  One for “kids”, basically carrying on with the universe-multiverse they’ve already created under the disastrous helm of _____________.  And the other division for “adults”, to create more realistic-themed movies of the same properties, like their most successful versions.  How do they plan to make this happen? They proposed to hire this family, give them first-dollar gross revenues on EVERY PROJECT; and give them carte blanche and full control over that second division.  At this point, the studio has nothing to lose in that contest.

Warner Bros. would do better to split their DC film properties into two divisions, one for SJWs and one for everyone else. But because they are literally run by SJWs, complete with major Hillary fundraisers and Bill Clinton’s former press secretary, there is zero chance that the convergence will not continue to get worse.

And at this point, I really don’t have a problem with that.


See, Marvel was RIGHT

Chasing the elusive minority dollar is the secret to massive success. This just proves it!

Appetite for presale tickets leaves little doubt — Marvel Studios’s next big blockbuster is “Black Panther.”

The film, which will be released by Walt Disney Co. DIS, +1.09{4bbad798630efc4433864d09618c79dc37ec93bd369a8697e8847adaf672eacc}  on Feb. 16, was already one of the most-anticipated movies of the year. It just broke the record for highest ticket presales in the first 24 hours for a Marvel film, according to online movie ticket retailer Fandango.

The previous record-holder was “Captain America: Civil War,” which coincidently is the film in which Chadwick Boseman’s portrayal of the Black Panther first made an appearance on the big screen.

Fandango, which is owned by Comcast Corp.’s NBCUniversal, didn’t reveal actual numbers for “Black Panther” or “Civil War” presales in making its claim.

What is known is “Civil War” pulled in $75.5 million in its first day in theaters, according to data from Box Office Mojo. The film went on to garner $179.1 million in its opening weekend—the third largest opening in 2016—and $1.2 billion in total worldwide gross.

And if Black Panther doesn’t beat Civil War at the box office, that will just prove that America is too racist to appreciate a proven blockbuster.

They really are getting desperate, aren’t they. Speaking of desperate, my December 19th prediction is still in play, as barring a big weekend, The Last Jedi will fall short of $624 million domestic.

2018/01/08 $1,791,497 $423/screen   $574,483,043 Day 25
2018/01/09 $2,368,317 $560/screen   $576,851,360 Day 26
2018/01/10 $1,744,275 $412/screen   $578,595,635 Day 27
2018/01/11 $1,678,949 $397/screen   $580,274,584 Day 28

To put it in perspective, on Day 28 of The Force Awakens, it brought in $757 per screen to reach $825,932,841 of its $936,662,225 total.

Wait, the sword cuts BOTH ways?

The Hollywood Left belatedly realizes that there are no conservatives in Hollywood to be affected by the campaign against sexual harassment.

When Hollywood’s most prestigious organization, the Academy of Motion Picture Arts and Sciences (AMPAS) — the group of nearly 7,000 actors, directors and other industry types who dole out the Oscars — expelled Harvey Weinstein on Oct. 14, audiences applauded. But by acting so swiftly, a mere nine days after the New York Times first reported allegations of sexual assault against the movie producer, the outfit now finds itself facing a dilemma.

Put simply: What to do with the rest of them?

“Harvey opened the floodgates,” said one male Academy member. “Now the Academy’s drowning in a tide of s—t. They don’t know what hit them.”

What hit, of course, were more alleged horror stories about so many other members: Kevin Spacey assaulting multiple young men, Dustin Hoffman sticking his hands in women’s pants, director Brett Ratner forcing himself on actresses. Ben Affleck seen on video groping a female host on “Total Request Live.” Screenwriter James Toback accused of sexual misdeeds by nearly 40 women. (As of this past Tuesday, the Los Angeles County district attorney’s office said it is considering criminal charges in five cases against Toback. He, Spacey, Hoffman and Ratner, deny the claims against them.)

“[We] can’t regret [kicking out Harvey] because [we] didn’t really have a choice,” said one male member of AMPAS’ board of governors. “Some members were quite vehement. But [we] didn’t have time to really weigh out the repercussions.”

The emergency meeting to deal with Weinstein was conducted by the 54-member board of governors — which includes Steven Spielberg, Tom Hanks, Whoopi Goldberg and Laura Dern — after it received a Change.org petition with 100,000 signatures calling for his ouster.

“But they didn’t give themselves time to plot out how to deal with this going forward,” said one prominent female AMPAS member. “Kathleen Kennedy [producer of the ‘Star Wars’ series] and some other female governors panicked and felt compelled to act. They thought [Weinstein] could hurt AMPAS’ cred. Some of them did admit this was a slippery slope. But I don’t think they imagined how slippery. It’s definitely caused some problems and fights among the board members.”

I give it about six months before the media declares that anyone who cares about sexual harassment, rape, and child abuse in Hollywood is a) alt-right, b) sexist, c) homophobic and d) anti-semitic. We’ve already seen from Cat Rambo, the SFWA, and Worldcon that SJWs will tolerate even the most vicious sex criminals rather than accept the imposition of any moral standards on the deviants in their midst.

Glenn Reynolds makes a salient pointRemember, they’re not making a big deal about sexual assault in Hollywood because they found out about it. They’re making a big deal because you found out about it.

They all knew. They didn’t care until they realized the public was onto them.


Masterfully subversive

It’s fascinating to see that SJWs actually believe Disney is slipping the convergence of Star Wars past anyone:

The new films are again at the vanguard of cultural concerns, but push harder and more subversively than any of the previous films. Above all else, The Last Jedi is about smashing patriarchal white supremacy– smashing it to the ground and starting over– and I am here for it.

While the earlier films were about the need to purify corrupt systems, the new ones are about smashing everything and starting over.

At every turn, the new films are about “letting the past die.” At its most broad and obvious, this means killing off the older generation and handing the narrative to the new. The Force Awakens killed off Han, which was no surprise as Harrison Ford had been badgering them to kill off Han Solo since Empire. Then The Last Jedi turned a hard corner by killing off Luke when everyone expected to lose Leia due to the loss of the great Carrie Fisher. Luke sacrifices himself in one last spectacular moment of force-wielding brilliance in order to save Leia and the Rebellion. This kind of sacrifice is something we’re used to seeing from extraordinary female characters (see every extraordinary woman from Charlotte in Charlotte’s Web to Eleven in Stranger Things). In TLJ, the central white male hero of the original films dies to save an exceptionally diverse, gender-balanced group of people who are, as Poe says, the “spark that will light the fire that will destroy the First Order.” Not “save the galaxy”; not “save the Republic.” This is not about saving something from corruption. It’s about ending the old order and creating something completely new.

As the older generation dies, the older way of doing things dies as well. Luke can’t bring himself to burn down the tree containing the sacred Jedi texts, so Yoda force ghosts in and does it for him, cackling, telling Luke that Rey already has “everything she needs,” then dropping this bit of heartaching profundity: “We are what they grow beyond. That is the true burden of all masters.” Anyone who has ever been a teacher or a parent understands this most painful and exhilarating of truths, but Yoda says it as the foundational texts of the Jedi order burn (as far as Luke or the audience know at that point). “We are what they grow beyond.” Not just us, but our old ways. Specifically, the old ways of hierarchical privilege.

Luke believes the Jedi order needs to die for this very reason. “The Jedi don’t own the force,” Luke says. The force is in everyone. Leia reflects this as well. “Why are you looking at me? Follow him,” she says, handing leadership to a random pilot who came from nowhere to become central to the Resistance. And although I am the first person to sign up for Team Leia– she was more than worthy of every inch of her power in the Rebellion– the door opened for her because she was part of the royal family of Alderaan. Her mother was the Queen of Naboo. Poe Dameron’s mother was a Rebel pilot. As the Rebels follow Poe, waiting for them on the other side is Rey, whose parentage was the subject of feverish speculation. Certainly she must be someone— she must come from some kind of peerage, pedigree, or privilege to be so special. But she is nobody from nowhere, daughter of unsavory junk traders who sold her for booze and died on Jakku. The force belongs to everyone, not just the pedigreed.

Privilege is handily dismantled wherever we try to create it. Rose Tico is awed by meeting Finn, now a hero of the Resistance, only to have her hero worship dashed when she realizes Finn is trying to escape. Finn comes from nowhere– one of many nameless troopers stolen as small children. Rose, as well, comes from nowhere– daughter of miners who now works as a tech for the Resistance. Some have criticized the Finn/Rose subplot, but thematically, the meaning is critical– these young Rebels are the new generation who will build the new society on the ashes of the old. They’re played by actors of color. Rose is respected by Finn for her expertise and quick thinking as a matter of course, not as a reveal (“Oh look! The pretty girl is actually smart!” or “That competent person took off their helmet and HOLY CRAP IT’S FEMALE”). When she falls for Finn, it’s not the usual trope of Hero Wins Sexy Woman, and was therefore criticized for being “shoehorned in.” Rose wasn’t wearing a low-cut top; we never saw Finn ogling her; we never saw the camera linger over her ass. We were never given the signals “SEE HER AS A SEX OBJECT,” so her love for Finn is “shoehorned in.” But this is the stirrings of the new society. Any idiot can ogle a woman’s ass, but the man who automatically respects a woman’s expertise is well worth falling for. While Leia and Poe are trying to save the Resistance on one front, Finn and Rose represent what they’re trying to save.

The Resistance is impressive in its casual diversity. Women and people of color are valued for their expertise as a matter of course; nowhere does the film congratulate itself on its diversity by making a huge point of highlighting it, demonstrating white male benevolence by the generous inclusion of women and people of color, positing a white male audience nodding along, agreeing that we are so wonderful for allowing our White Male World to donate a very small corner for the Less Fortunate. The Resistance is naturally diverse, and no one even seems to notice. That is masterfully subversive.

The Last Jedi is not masterfully subversive, it is massively converged. Which is the main reason why it has underperformed expectations by 28.7 percent, or to put it in monetary terms, $187 million in two weeks. That is the cost of convergence, and it is only going to rise over time.

The future is brown, and female, and brilliant, and fierce, does not give even one single fuck about the way things used to be.

Well, she’s got the fierce, brown, matriarchal society part down, anyhow. What a pity it will lack star travel, as well as indoor plumbing. To call SJWs half-savages is to give them far too much credit. They are not only uncivilized barbarians, they actively hate civilization.

PB found his viewing of the movie to be an awakening of his own:

I wanted to comment on a thought that occurred to me after reading you for some time, but due to my personal situation it is not appropriate for me to comment publicly in the comments section.

After seeing “The Force Awakens” and before regularly reading Vox Popoli, I was simply disgusted and attributed this to stifling feminism and the surreptitious goal to pacify Western white culture into becoming the next Brazil or such.  Today after listening to a podcast about the movie, it struck me that while the host and guest nibbled around the edges of the main character Rei that she was nothing more than a subliminal confirmation for affirmative action.  She has these abilities and powers because she is entitled to them, because they say so. By virtue of being the SJW’s victim de jour, or, their favorite pet of the day, her inexplicable mastery of everything “Star Wars” conclusively affirms the narrative for affirmative action.  In this movie it is, perversely, the SJW version of a “Deus ex machina” moment.

Forgive me if this has been obvious to you all along and I’ve simply managed to overlook or miss it in your blog or in the comments section.  But this was a major epiphany to me and felt that this is as an important point of discussion in unravelling the surreptitious techniques of the left as any.

TFA is a milestone of sorts, because it has introduced the concept of convergence to the general public.


He’s out

And let’s face it, when it comes to original fans of Star Wars, who isn’t?

In just 10 days, “The Last Jedi” has brought in $365 million domestically. This is a huge amount of money. It sets some records no doubt.

But “The Force Awakens” took in $540 million in its first 10 days, two years ago. That’s almost $175 million difference. And that’s BIG.

Everyone has a theory. Schools weren’t completely out for Christmas. The wind was coming from the north. Odd days vs. even days.

But now that two weekends have passed, we can state the obvious: they killed off Luke Skywalker. I mean, come on. Happy, peppy Luke became a wizened old man on a mountain with no family, no love, no connections, no friends, no faith. Both he and Han Solo were essentially knocked off by Han and Leia’s son. I mean, WTF? None of it makes sense. It’s a bitter pill to swallow. Plus, Rey isn’t related to anyone, and Kylo mocks her for it. It’s a drag.

Now Mark Hamill is speaking out, saying he took direction from Rian Johnson but knew it was all wrong. He says. maybe it’s a cousin “Jake Skywalker” but certainly not the Luke he knew.

George Lucas must be furious. In two movies they killed off two of his three main characters. And who could have foreseen Carrie Fisher’s real life death? So now Leia will expire in Episode IX. Her son– and Han’s– is irredeemably evil. So that’s it.

This is why I wrote back at the beginning that I am done with “Star Wars.” If you’re from the generation that started with the series in 1977, the death of our heroes is not what we signed up for. So I am out, and I sense from the box office so are a lot of people. Big mistakes were made here.

Convergence kills. Convergence costs corporations VERY BIG money. I am seriously thinking of starting a corporate consultancy to help established companies avoid becoming converged by diagnosing convergence and treating it early.

To put it in perspective, TFA fell 28 percent from $38 million two years ago. TLJ fell 50 percent from $29 million today. So, TLJ is falling nearly twice as fast from a lower peak.

SJW convergence is corporate cancer.


The SJW perspective

I’m linking this The Last Jedi review by an SJW so everyone understands that SJWs really do get off on destroying what you love. They’re not stupid, they’re not clueless, they are literally unrestrained evil.

The Force doesn’t really care who you are. Nobody is the chosen one. Concepts like Destiny and Mysticism are hubris. Legends are problematic. The cycle of the empire vs the rebellion repeats in the first order vs the resistance and the ideologies of both sides are inherently flawed. It’s a machine. And the only way to be free is not to join. The past must be destroyed. The Jedi must end. We have to stop fighting what we hate and start saving what we love.

My favorite scene in the entire film is when Luke takes a torch to the Jedi Tree because he’s going to finally burn it all down. He’s going to burn the Jedi texts and end it. Then he hesitates. So Yoda appears as a force ghosts and does it for him. Yoda basically tells Luke to stop being so dramatic. Even in his attempt to hide from the past and close himself off from the Force, Luke is deifying the Jedi order. And Yoda tells him straight. None of this is really important. And then in a sublime moment commiserates with this former padawan by reminding him that when you’re a teacher, you’re agreeing to be the thing that your students move beyond. You get left behind, that’s part of the deal. Woof!

I mean, how great is that moment?

So yeah, when a movie takes the concepts that have been central to Star Wars and tears them down some people are going to react badly. I get that.

But God, how I loved it.

They don’t “miss opportunities.” They don’t “fail to understand.” They don’t “just not get it.” They genuinely live to shit on you, your values, your morals, your faith, your culture, and your children. They are purely destructive and there is no place in any civilized society for them.

And they know it, which is why they derive pleasure from tearing civilization down.

They are the rejected Muslim suitors throwing acid in the faces of the girls who rejected them. They are the gammas muttering spitefully about sexual proclivities of the pretty cheerleaders and ponytailed soccer players whom they will never attract. They are cowards insistent that not only are there no heroes, but that heroism is impossible.

This is all you really need to know about SJWs: “The only way to be free is not to join. The past must be destroyed.”

The negation of all that is beautiful, good, and true is the heart of the SJW.


The Lost Jedi

5-day revenues
TFA: $325,438,146
TLJ: $261,820,146
-19.6  percent

Day 5 revenue per screen
TFA: $9,038/screen
TLJ: $4,786/screen
-47.1 percent

Unexpectedly, both the average critic’s rating (92{8b465fcc1261600c3844715b0002d5b2f22fe6ddf2fd7bce983edf903d17ed70}) and the average audience rating (54{8b465fcc1261600c3844715b0002d5b2f22fe6ddf2fd7bce983edf903d17ed70}) on Rotten Tomatoes are falling as time goes on. At this rate of decline, the audience rating will be below 50{8b465fcc1261600c3844715b0002d5b2f22fe6ddf2fd7bce983edf903d17ed70} inside a week. To put into perspective what a bomb this movie is, it took The Force Awakens 18 days for its revenue/screen average to fall below the $4,786 figure hit by The Last Jedi on Day 5.

Other than the massive opening weekend, TLJ is performing much more like a Marvel movie than a Star Wars film, which is the first sign that its domestic box office might actually end up reaching less than HALF of TFA’s $936,662,225. In fact, if we simply add how TFA did after Day 18 to TLJ’s five-day total, that suggests it will bring in less than $450 milllion domestically, well short of the $750 million it was expected to make. Given the terrible reviews, it may not even hit $400 million.

TL;DR: SJW convergence is expensive.

UPDATE: the media is belatedly beginning to notice that TLJ is a failure by Star Wars standards, even though they can’t understand the reason for it.

Monday’s box office numbers turned up a new glitch in the numbers for “The Last Jedi.” Even the Disney experts must have been surprised. “Jedi” took home $21.5 million on Monday, an important night for adult filmgoers.

But two years ago, “The Force Awakens” reaped just over $40 million on its first Monday. It’s almost twice as much.

There’s a feeling that “Jedi” is soft at the box office. I don’t know why. It’s just as good if not better. And it has major plot developments for “Star Wars” fans.

So this afternoon’s report on Tuesday numbers will be scrutinized closely. “Force Awakens” did $37.3 million on its first Tuesday. Will “Jedi” compare favorably? Stay tuned…

No, no, it did not. Instead of comparing favorably on its first Tuesday (Day 5), TLJ compared very disfavorably, coming in 42 percent south of its predecessor at $20.3 million.

UPDATE: TLJ is rapidly approaching freefall territory.

Day 6: $16,900,000 (-65.6{8b465fcc1261600c3844715b0002d5b2f22fe6ddf2fd7bce983edf903d17ed70} from Day 6 TFA)
$3,993 per screen (-67{8b465fcc1261600c3844715b0002d5b2f22fe6ddf2fd7bce983edf903d17ed70} from Day 6 TFA)


Why can how be so?

The media finds it hard to grasp the obvious fact that people simply don’t believe them anymore:

The critics loved “Star Wars: The Last Jedi” — The Times’s Manohla Dargis raved about it, and she wasn’t alone. Rotten Tomatoes, aggregating critics’ reviews, rated the latest chapter in the saga 93 percent fresh. But fans? Not so much. At least if you go by Rotten Tomatoes, which says moviegoers posting on its site rated the film 56 percent fresh.

But wait! CinemaScore, which conducts exit polls at theaters (that is, it talks to actual, live human beings), says moviegoers gave “The Last Jedi” a solid A. And the box office was stratospheric: $450 million worldwide in one weekend, making it the second biggest opening ever.

What’s going on? There are several theories:

1) It’s straight-up trolling. Deadline.com pointed out that nothing prevents the same person from repeatedly logging onto Rotten Tomatoes and dragging down the audience score. (And one Facebook user claims to have done just that.)

2) The adventures of Rey and company (including the villainous Snoke) were genuinely disappointing. As the Hollywood Reporter noted, fans hoped that the writer-director Rian Johnson’s follow-up to “The Force Awakens” would explain, among other mysteries, who Rey’s parents are, and the answer (nobody special) wasn’t very satisfying.

3) It’s a function of how the internet has affected fandom. Vanity Fair argues that the web fosters the kind of scrutiny that few films can withstand.

On Facebook, we asked what you thought of the movie and what explains the divide between fans and critics. More than 800 responses suggested that perhaps the Rotten Tomatoes fan rating wasn’t so far off. A lot of you really did not like “The Last Jedi.”

The truth is that post-GamerGate, only idiots and SJWs pay any attention to what the critics, who are at best converged and at worst corrupted and in the direct pay of the content-producing corporations, say anymore. And in this particular case, the movie not only sucked, but betrayed multiple generations of fans.

UPDATE: After 4 days, TLJ is already underperforming TFA by $46.5 million and 19.2 percent. By comparison, Attack of the Clones outperformed The Phantom Menace by $25 million and 26.4 percent. That means that despite the massive numbers, in terms of expectations it is a box office bomb. If the fall-off picks up pace, and based on the media’s defensiveness I suspect it will, TLJ will take in less than two-thirds of what TFA did.


Star Wars is not science fiction

The Original Cyberpunk, who knows a thing or two about science fiction, explains:

Vox, my young friend, I should think that you of all people would appreciate the true genius of J. J. Abrams. If he’d chosen to go into music he would have been one of those guys who said “Screw actually learning to play an instrument” and parked himself in a recording studio with a drum machine, a sampler, two turntables and a microphone, and then spent his days churning out hit single after hit single by sampling, looping, and remixing earlier hit singles.

Instead, he chose to go into film-making, where he is doing exactly the same thing: compositing together commercially successful movies by lifting scenes, bits of business, and entire set pieces from earlier successful movies. He is the first fully realized hip-hop filmmaker.

I should think you of all people would appreciate that.

By the way, here’s my review

Saw this movie, we did. Long, it is. Impossible to write a substantive review without including spoilers, it may be. Nonetheless, try I will.

In the interests of full disclosure, though, I must lead off this review by pointing out that I contributed not one but two essays to David Brin’s Star Wars on Trial, the first arguing in favor of the original Star Wars trilogy as a watershed moment in cinematic history and the second absolutely slagging the prequel trilogy as childish tripe. So I come into this review with a long history as both a consumer and critic of Star Wars entertainment products, and I will put my greatest heresy on the table right now:

Star Wars is not science fiction.

Sure, it looks like science fiction. It sounds like science fiction. And based on that guy in the wookiee costume who was ahead of us in the concession line, it even smells like science fiction, or at least like the third day of a furry fandom convention.

But Star Wars is not science fiction. It’s a long-winded heroic magical fantasy saga that happens to take place in a world cluttered up with lots of sci-fi props and set dressings. If considered as science fiction, there is not one thing in the entire Star Wars universe that bears close scrutiny, because if you think about it at all seriously, the seams split and all the nonsense comes pouring out.

Read the rest of it there. It is… informative. As for J.J. Abrams, I appreciate that he is good at what he does. I just don’t like what he does. That stupid “mystery box” formula of his is the sure sign of a storytelling charlatan.