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    Only the Star Trek reboot sequels.

    Unreal was fascinating. Protagonist was flawed but somewhat understandable. Blurring the line between time travel and mental illness is neat, and I like how time travel was messy and full of loops. Bob Odenkirk is a great actor, he sold me as the dad very well. The story wasn't that great, but it was fascinating and I think the ambiguous ending represents how we should treat mentally ill people's perspectives with respect abd that regardless of if everything was real or not, the protagonist still kept escaping from her family too much.
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    I've heard of Umbrella Academy for a long while but haven't tried it. I recently watched the entire first season of The Mandalorian and the first three episodes of The Witcher. The Mandalorian is neat, especially with how cinematic it looks for a TV show, but the characters and plot aren't that great or anything.

    And while I like Henry Cavill's acting and the bits of humor and action in The Witcher, the plot and lore are way too confusing for me to care about the characters and stakes. So many characters are forgettable, things happen out of nowhere, and there are random references to off-screen important-sounding lore that make me feel like I need to read supplementary material to care about it. Cryptic dialogue that tries to sound deep without really saying anything intuitively does not help either.

    I haven't checked out Unreal yet. I will try to get on that or Umbrella Academy later this week.
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    If you want to get a clear idea of why I praise Knights of the Old Republic II's, please watch this video:

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    The most the sequel movies reference the prequels is Luke mentioning Darth Sidious and the Jedi Order's flaws for a brief scene in The Last Jedi and Darth Vader's castle in Rogue One being hinted to be on Mustafar without explicitly saying it. And I guess the Jedi Ghosts talking to Rey in Rise of Skywalker, but I don't feel like watching that movie lol.

    I understand why Disney doesn't want to reference the prequels, and I hardly think they're good films. But one thing I respect them for is how they expand the worldbuilding and lore for Star Wars, and spawned spin-offs like Clone Wars that actually have good storytelling. Which is a big reason why I really liked the Knights of the Republic games. Especially the sequel because it actually subverts and criticizes Force's arbitrary morality balance like The Last Jedi tried to do, but also makes the writing and characterization work too rather than having Luke go from redeeming space Hitler to considering killing his emo nephew off-screen.
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    Nothing much. My family just switched out Wifi to Fios today, which means I'll get free Disney+ for a year. And I've been going to bartending school over my winter break from college to learn some new skills and get out of my comfort zone, so that's been going well. My midterm is tomorrow.

    In my free time, I've been playing Star Wars: Jedi Fallen Order. The game is pretty much the God of War reboot in space with a hectic Uncharted opening sequence. It takes place in between Episode 3 and Rogue One, but a couple of the worlds you can explore worlds from Clone Wars and the prequels like Kashyyyk and Dathomir. They also reference the Jedi purge, Clone Troppers, and Separatists a bunch of times. Even has a couple Rogue One characters. The story isn't all that remarkable, but it's neat to see a Star Wars property that isn't afraid to simultaneously canonically reference the original, prequel, and sequel movies all in one.
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    And thank you for wish me a Merry Christmas! I hope you had a good one as well if you celebrate it.
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    Why can't Pixar just make a normal dramatic human movie? They're popular enough to take the risk and you can't tell me it would be too experimental and subversive to be successful because look at Joker, Deadpool​, Zootopia, and new superhero shows like Doom Patrol, The Boys, and Watchmen. I feel like the only thing really stopping them is force of habit and Daddy Disney pressuring them to make movies about exaggerated characters to sell toys.
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    Actually, speaking of Pixar, I want to say something interesting. I wish Pixar would become bold and open-minded enough to make a movie focusing entirely on just humans. I get how their brand is all about atypical or non-human characters. But their best storytelling comes from stuff like the Married Life montage intro for Up, the Critic and cooking scenes in Ratatouille, Woody getting fixed in Toy Story 2, Sulley and Mike dropping out of Monsters University, mundane life drama in Incredibles 1, Riley crying with her parents in Inside Out, and the lost potential we discussed with Coco's conflict about dreams vs. family.

    I watched the Soul's trailer and realized I was way more interested in the movie before when the guy dies by falling into a manhole. It also doesn't help that he's black but this movie's probably going to be likeThe Princess and the Frog where the protagonist spends most of it in that ugly blue medicine commercial soul form.
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    I still say Bakuman is worth reading though. And Mello was much more interesting than Near. So I can buy that reason.

    I don't mind OG Palpatine. Prequel Palpatine is hammy greatness while OG Palpatine is the galaxy's biggest troll and has cheesy villainous laughter. But I'm worried that Rise of Skywalker tries to only make him creepy, overpowered, and in the shadows, which would take away from what I like about him.

    And someone finally noticed I cited Doc Ock's catchphrase lol. I loved Superior Spider-Man.

    I get not wanting sequels. But on the subject of Inside Out, I actually wouldn't mind a sequel if only because I think the first movie was held back by focusing on a kid protagonist and a predictable fish out of water plot. If a sequel focused on the struggles of one of her parents or a teenager, I think it would become a lot more interestingly complex.

    And I too wanted a Cap sequel that focused on Cap adapting to the present without his past haunting him yet.
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    My only big issue with Bakuman, aside from most of the toxic romance writing is (reminds me of how awful Peter-MJ's romance was in the Raimi trilogy that only seems good because of nostalgia, the music, and cinematography), is how it acknowledges and criticize Shonen Jump's editorial and business practices, but then backpedals and defends those practices for no real reason other than pride and the creator's bias.

    There's even a great antagonist character who shows up midway through the manga critiques Jump's editorial process and basically acknowledges how awfully stubborn and shallow they are. He even comes up with a clever manga creation process that's styled a lot more like independent western comic book making and getting feedback from people on forums and chatrooms like this one instead of having to appeal to Shonen Jump editors. But then the story promptly exaggerates him to the point of being a straight-up villain straw man to bash on western and indie comics.
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