It's not the creatives' fault. To this day Disney actively suppresses queer content that writers want to include.

>We at Pixar have personally witnessed beautiful stories, full of diverse characters, come back from Disney corporate reviews shaved down to crumbs of what they once were. Nearly every moment of overtly gay affection is cut at Disney’s behest, regardless of when there is protest from both the creative teams and executive leadership at Pixar.

It's crazy how far we've come in a very short period of time. When this show started ~60% of Americans opposed same-sex marriage, and now ~70% support it.

Game of Thrones was in development for years before that. It was a long, difficult road getting it to air.

It's a sweet show. Pairs well with Somebody, Somewhere.

Xena killing Joxer and going back to sleep was dark comedy gold.

I remember Kate not talking about what she found at the medical hatch until half a season later.

Wait, people didn't like that episode?

Sometimes it is so nice to enjoy a show without engaging with its fandom.

Aside from the massive difference in tone... they're talking about fantasy vocabulary, not magic itself.

It's not a real quote. Someone misquoted them as they were live-tweeting an event, and publications ran with it. When the audio turned up with what they actually said, those publications didn't rush to correct themselves. What they actually said:

>“With the fantasy genre on television, tonally it’s very easy [go too] campy. Every scene, you change these two lines and it’s Monty Python and the Holy Grail,” Weiss jokes. “Also, in terms of fantasy exposition, with proper nouns, it’s almost like a game of Jenga, where you’re trying to plow as many of them as possible without the whole thing falling over. In the first pilot, we had one too many and the whole thing fell over. Going forward, we tried to keep that stuff to a minimum, because we didn’t just want to appeal to a fantasy fanbase. We wanted them to love it, and we wanted our parents to love it, and people who play professional football to love it. We wanted to reach a wider audience, and to do that keeping the tone [under control] was very important.”

Ashley's a bench now.

Would be redundant since there are already episode ratings. (And those are useless.)

A book where 95% of the story took place in a period setting, added a bunch of modern day material. Wonder why.

Trailers made it clear it didn't resemble the book. Instead of making a killer limited series, they decided to add a bunch of original material to milk a short book indefinitely.

This is fair. Game of Thrones didn't sweep nominations until later in its run. Early on it was just Peter Dinklage getting nominated.

I'm sure it'll be a fine series on its own, but seems like taking place on Earth would kind of undermine every movie where the whole point is not letting it get to Earth.

I think it's more likely that it was written by one team, and then rewritten by the other.

WGA rules state that if the final draft keeps more than 33% of the original, the original writer (or writing team) gets a teleplay credit.

If it's less than that, and it kept a "basic narrative, idea, theme or outline," they get a story credit.

From Writers Guild of America:

>The word “and” designates that the writers wrote separately and an ampersand (“&”) denotes a writing team.

In this case, it looks like two writing teams worked on the episode, and Michael Tolkin was a member of both teams.

They actually added a new guy, who didn't serve with them, in the fifth season.

Originally this was going to be a new girl, played by Tia Carrere, but she signed onto another show instead.

During the second season, cast was drinking so much the producers staged an intervention. And then wrote a thinly veiled episode calling them out for drinking.

If this happened, it was on fellow cast members behind the backs of production.

She had an overall positive experience on the show and thinks people should be wary of focusing too much on the salacious drama. She lowkey plugs her podcast with Kevin McHale where they will "set the record straight.'

People got mad at her so she went away long enough for people to forget why. Tale as old as time.

Helps that it wasn't exactly a betrayal of her brand.

The asterisk next to the time stamp means they edited their comment.

Spoiler for the book but >!eventually her white husband gets sent back with her!<.

I read this a few years ago and thought that, structurally, it would lend to an adaptation quite well.

The trick is getting the tone right. The time-traveling slavery show sets itself up for mockery if it goes too light or too heavy.

Evil has an amazing opening. I just wish Paramount+ wouldn't plaster the "skip intro" button over the entire thing.