So I put together an amazing prompt for OPT-6.7B that does — and I’m not kidding — a kind of psychoanalysis. Like an opening analysis from a therapy session. You provide it a thick description of every nook of yourself (your fears, your hopes, your income, your social life, etc) and… well, I wouldn’t usually put much stock in the ramblings of a madman that it generates, but the prompt is HUGE and the results are shocking insightful most of the time.
Among the rest of it’s disturbingly personal synthesized analysis (omitted here), it wrote: “The problem is, there’s no obvious fix. There are lots of problems here.“
Which… has been pretty much my take on it. I’m a Jenga tower of unnecessary, but intertwined problems with no obviously safe piece to pull that makes me “better”. Which is probably why folks tend to stay away from me. I get it. 👍
Anyway, here’s the skeleton for the prompt. Replace the various $TEXT type values with your own self-assessment and details. Be descriptive. Really get in there with the details of your life. (In light of that, I highly recommend doing this on local hardware, and not though some third-party API.)
Therapy Session #1
My generation parameters were:
I currently have a very rudimentary of how prompting works; mostly just how it continues off from where you leave off. There are almost certainly much more advanced techniques. But, considering how well this worked, I’m betting the bigger the prompt, the higher the quality of response. 🤔
We’ll find out.
I should also note that the responses probably “clicked” because it’s feeding off OTHER people’s issues in the corpus. Common issues many of us go through, that all have that just happen to fit.
And it’s often wrong. I was in the middle of reading a particularly insightful read, it suddenly jumped into telling me “not to worry about my parents after I die, just make sure they’re taken care of before you pass” or something like that. There was NOTHING like that in the prompt.
So. Prompter beware. You’ll see what random probability reveals to you. Almost like one of those paper fortune things from school.
One of my secret shames is that I regularly check Drudge Report for breaking news (especially now that Twitter is compromised).
Drudge is a scumbag. But he’s a useful scumbag. He seemingly posts 24/7 (with some help, no doubt) every little bit of breaking news.
His preferences lean right, but at the end of the day he leans wherever the clicks are — so he’s not exactly what I would describe as a die hard conservative, if the story is big enough.
That means he links to tabloid sites, like The Sun, and others.
Very low-quality garbage, along side regular mainstream news sources. It sucks.
So, last night I got the idea to write a Greasemonkey script to iterate all the links on the page and style them appropriately if they’re from a blocklist. That’ll help me judge, at a glance, the likelihood that King Charles was actually seen shapeshifting into a lizard or not, and I can skip it.
At first it felt like the direct TNG callbacks were a bit much, but it’s the opening episode — there’s an allowance for that kind of thing. Sets the tone. Builds a framework.
It definitely feels different. Better. Probably my favorite premiere out of all three seasons. But each of those were actually quite good before each of them fell off the rails pretty rapidly. It remains to be seen if Season 3 falls into that trap. But I get a good feeling from this. With how badly prior seasons have left me soured, I still feel something I didn’t expect: hopeful. 🤞
In the 25th Century… (oh lord, laying it on thick out of the gate)
No title sequence…?
Rainy ambient background is great with headphones in the scene with Picard talking to Laris.
Aaaand just like that Laris is off the series? Maybe she’s back at the end, too? 🤔
An EAGLEMOSS on screen with stand and everything. Okay…
Oh, wow, a whole Amazon store listing of Eaglemoss ships on display. Not sure how I feel about that. Breaks immersion a bit too much.
“The fat ones”. Geesh.
Both Picard and Riker giving speeches at Frontier Day.
So Bev gives this dire message where she’s clearly heavily injured, but let’s fuck around real casually about it at the bar. Factoring in how long it took for them to get together, hatch a plan, take the Titan in one direction, then double back, etc. It had to be at least week if not more before they even got to her. (Trek’s been known to bend time and space, so this is not nearly as damning as it might ordinarily be, but it’s still irritating.)
Fifteen minutes in and the number of obscure, statistically unlikely TNG callbacks in a row is already closing in on intolerable. (EDIT: it mellows out.)
M’talas Prime… a bit on the nose, no? I mean, naming shit after the crew is common but what’s next? Kurtzman IV? (That actually has a good ring to it…)
Sexy Titan-A flyby. I’ve long said Trek has lost that grandiose majesty, and this brings some of that back.
The score really is great, though it sometimes feels like a bit too direct of a copy/paste affair. From great source material, at least.
“Crash” LaForge. She’s got chops. She didn’t feel like stunt casting.
Picard/Riker banter is almost a bit much, but JUST on this side of fun.
Shaw’s dinner ASMR with headphones is a bit disturbing.
Yep, Shaw is a real dick. Hahah. Maybe a bit too much of one? I bet we come around on him, though, before he dies.
On snap, he’s got Locutus beef with a general anti-Borg racist streak. (“Commander Hansen” for instance.)
Picard and Janeway inspired her to “join Starfleet”? I thought she tried to get in post-Voyager but was denied. That was on THIS SHOW it was mentioned. They said even Janeway’s considerable sway at the time couldn’t do it… which is why she joined the Rangers. Bah.
A red statue. Who the fuck has a red statue, except to use for someone’s cryptic clue? 😛
Holy shit! Now we’re playing with portals. That was exceptionally different and genuinely horrifying. But I can’t imagine how someone can get to Earth, do THAT, and not immediately get stomped in orbit. We don’t know enough about it, though, so… we’ll see?
Butt to butt shuttlecraft-on-ship action.
Androids get an adrenaline rush? Oh right, we’re sweeping that whole “golem body” thing aside.
Picard made Bev a classical mix tape!
“Her son!” — no shit, Marcus.
Opening credits are at the end. An interesting choice. Some fun clues in the end-credits LCARS.
53 minute episode but felt twice that long. In a good way.
NOTE: If you’re following along on this Roddenberry adventure with me, you might have noticed that I’ve skipped over reviewing Strange New World, the third attempt at making the Dylan Hunt saga a reality. This is not an accident. It’s a terrible pilot and I’ve already given it more than enough attention by reminding people it exists.
Another prototypical Star Trek concept before it got dumped into the 80s. In this case, the inspiration for Commander Data on TNG is fairly easy to see.
Though this goes in a completely different direction, as this android is built by a mysterious genius who disappeared, sending his creation on a hunt across the world, with a ticking clock running before he explodes like a nuke.
Questor passes for human (Foxworth is lucky he didn’t have to wear gold contacts), but is less articulate than Data. Though I certainly hope his generic ‘robotic’ voice would have mellowed out a bit if this had gone to series. (They do lay narrative groundwork for it eventually easing up.)
Mike Farrell is a fine actor, but he’s not strong lead. I don’t dislike him here, but it took a while to warm up to him. It’s tough to shake “BJ Hunnicutt”, even if this is a year before he scored that role. He lacks a certain gravitas, for lack of a better description. He’s like a rice cake.
It’s a slow paced, but quite interesting romp in the same vein as other high-brow sci-fi concepts like ‘Million Dollar Man’. As good as it had the potential to be, I can sadly see why it wasn’t picked up. I’m not even sure what kind of adventures they could have had to maintain a series.
Quite good, but there’s an unrealized potential here that feels frustratingly just out of reach.
Another missed opportunity. In some alternate reality this went on for several seasons.
Not even “fully functional” was an original joke. Geesh.
He got machine gunned like Data did in the missile silo, except it went much worse for Questor.
Take a drink every time a failed Roddenberry pilot includes “male”, “female” or references anything relating to gender.
Questor Tapes succeeds where Strange New World failed: this show made the entire premise of the series THE story for the pilot episode. Where SNW treated the intro as if we’d all seen it before and just jumped right into an episode of the week. This, at least makes Questor Tapes a far superior watch standing on it’s own.
Keeping the “failed Roddenberry pilot” train going this evening…
I’m struggling as to whether I find this better or worse than it’s direct predecessor, “Genesis II“. I’m leaning towards worse, even though most folks seem to think otherwise.
The budget has clearly gone up, and there’s an overall boost in the production values. It seems to have saved some money recycling props, locations, footage, and ideas from the original. Made me a bit sad seeing the G2 sets reduced to cameos in the background of this clunker.
As a pilot, the first half of this is terrible and lazy.
It skips over the entire introduction of “Dylan Hunt” (now played by the great John Saxon) — not even showing his misfortune via montage, save for one very brief scene — and delivers the bulk of the backstory via a narrator exposition dump and “captains log” style diary recording, slipping us into a PAX mission already in-progress. It serves a means to introduce us to the ‘team’ before jumping into what could have been any ol’ episode. (In fact, it adapts a planned Genesis II script.)
The first half is a real slog despite taking so many shortcuts. Surprisingly, the second half picks up considerably. But it’s still schlocky and cant’ seem to get out from under the shadow of Star Trek’s whole feel.
Indeed, Saxon is clearly cut from the ‘Jim Kirk’ vein of hero: a too-cunning, perfect “man’s man”, almost, but not quite, overthrowing the savage, backwards evil tribe of women with his dick alone.
And holy hell, is this thing roughly 10x more horny than Genesis II — something I dinged THAT show for. But, in comparison, it’s downright wholesome. Planet Earth is clearly Roddenberry just GOING FOR IT, pressing the limits of TV sex and violence in order to appease the network gods.
I naively called Genesis II “Roddenberry Unchained”, but this is THAT cranked to eleven.
That certain camp charm that made me enjoy Genesis II is not present here. Planet Earth is well cast, but much more blunt, far less cerebral, and somehow much less fun.
You’ll never look at Dr. Pulaski the same way again.
Speaking of doctors, the guy they’re looking for, to do heart surgery on a guy back at PAX headquarters, resembles quite a bit like Chuck Huber who played Dr. McCoy in the “Star Trek Continues” fan series. (And also vaguely resembles DeForest Kelley.)
Ted Cassidy reprises his role from Genesis II as a white Native American character. It was bad enough there, at least he played the role with a bit of dignity and it wasn’t too much. It wasn’t so blatantly stereotypical as it is here. Here, it’s just… really overstepping good taste.
This whole remake feels like it’s IQ dropped a good 50-75 points from Genesis II.
You’ll never see another piece of media use the word “dink” so many times.
Keep an eye out for what’s clearly an early prototype for the Klingon ridge make-up that would make it’s way into Star Trek: The Motion Picture. This is the real delight of watching these — seeing Roddenberry recycle all kinds of shit, and even the origins of things.
Whoo boy, this was certainly “Roddenberry Unchained”.
You know, I kind of loved it?
The pitch: like so many other similar stories, smarty man from the past is frozen in time and wakes up in the future — this time around it’s 150 years. Upon being woken, the two major factions recognize his value as someone who has knowledge of how to fix things, like nuclear power plants, and just what all these “k-cup” things are. One side tricks him into helping, but they’re really the bad guys. The good guys kind of suck, too, in a weird science/near-religious mish-mash kind of way, but one group doesn’t have pain sticks, nukes, and slaves, so our hero reluctantly makes his choice by the end.
It was kind of awful, and needlessly horny (as was tradition), but… man, there’s just this weird charm to it that only something ambitious, but produced on a low budget in the 1970s can make work.
The cast is mostly good, with Mariette Hartley, especially, standing out among them.
There’s much of the original 1966 Star Trek DNA strewn about this pilot-cum-TV-movie, including some VFX tricks with the elevator, the wardrobe and cinematography, those phony ‘caverns’, musical stylings, a small Majel Barrett role, the hand-to-hand combat stunts, etc.
Pretty much what I was hoping for when I’d first heard about this.
Again, I had fun with it, riding the line right down the center of “fun to riff on” and “genuinely enjoying it”.
I’ve heard this is the BAD version of this, and the seemingly traditional network order to later remake it “less cerebral, and more action-oriented” is the superior one.
Sounds like a win-win for me.
– This feels like the missing link between the original “Star Trek” and “ST: The Motion Picture” in terms of technical evolution. In reality there were only 3-4 years between this and Star Trek‘s third season finale. Yet it feels very much like a 1970s production. Maybe what Star Trek might have looked like if they had a sliiiightly larger budget.
– Lurch plays a “white Comanche Warrior”.
– “Decepticons” was a name invented for a kids TV series. What’s the “Tyranians” excuse, Gene?
– After detonating a fucking NUKE over the Tyrianian city: “you didn’t take any lives did you?” 👉🥺👈
Admittedly, I was not on board with Wednesday when I saw the trailer for it.
I was still licking my wounds from the godawful CGI movie, so the trailer for this series was rubbing up against that recent memory, unfavorably.
Even after giving the initial episode a chance, being clouded by all that, it wasn’t quite working for me. Something felt off, and at that point, any hair out of place was going to be blown out of proportion. However, there was still a spark of something there, so I kept going.
That cloud quickly vanished by the second episode.
And I’m thrilled things went that way — not only has Wednesday been a complete joy in it’s own right, but it’s really expanded my perception of what The Addams Family CAN be. And that’s one hell of a lift for an often cynical, long-time die-hard fan like me. 🙂
Some quick observations:
The Addams feel organic and real in this world. (More on that later.)
Thing was just incredible. Burton’s disembodied hand from the 1990s films immediately became the de facto version of the character, superseding the original, more limited “arm in a box” version from the 1960s. And here, more than ever, it’s obvious this was the best way to go with him. It’s absolutely freakish how emotive and charming he is in this.
It’s impressive that they’ve been able to keep all the Nevermore threads feeling serviced, full of character development, and just generally fulfilling. And most importantly, they never feel like they take away from the main story thread.
That said, in retrospect I’m realizing some of them didn’t really go anywhere. For example, the siren Bianca is set up as a rival for Wednesday. At least, initially. And she serves that role quite well. As the show progresses, they pull back on that bit and we see she has her own problems, in the form of her cult-leader mother. This seems like it’s going to pay off later in the series but it never does.
The cast is just incredible. Multiple times during this series, I thought to myself that every kid in this series is going on to do great things. Especially Jenna Ortega and Emma Myers, who have some insane chemistry together. Emma’s “Enid” is like the “anti-Wednesday”, but in a complementary, yin/yang completing each other kind of way. A real delight.
I feel it necessary to call out how great the show looked. It didn’t overdo it with the color grading, which is usually what ruins a lot of these modern shows for me. There was a great deal of beauty in this very dreary-focused series. Not quite Better Call Saul levels of “every frame a painting”, but there was clearly a lot of effort put into the cinematography here, and I definitely noticed!
Some criticisms I’ve encountered so far are worth examining:
Why was Wednesday attending Nevermore when she had no powers to speak of, since the ‘visions’ were her secret?
Nevermore was more about being outcasts, which admittedly seemed to be more focused on ‘kids with monster powers’. Neither of which Gomez nor Morticia had at the time when they attended, nor in contemporary times. But an argument could be made that back in the 1990s, attendance was more diverse. And then as time went on, the school’s reputation attracted more monster-focused applicants. Wednesday, being the child of a 90s-era alumnus, was technically welcome, but would be a victim of the era — an outcast among outcasts. (Which she certainly was.)
Many Addams Family interpretations, stepping beyond the simpler gag-focused 1960s sitcom and comic strip premise, have a problem where once you start injecting real crises into the plot, the concept breaks down. “I thought murder was good? Bad is good, right?”
Real stakes end up being at odds with their natural, comedic portrayal. Wednesday experiences this problem as well. At least, initially. But as the show progresses, and we start to see Wednesday break down her barriers a bit (a VERY little bit), it’s clear that while she definitely has the ultimate dark, macabre, loner streak — she’s an Addams after all — it’s also a bit of a front. At least in this version of the character. There’s a middle-ground deep inside her, closer to her parents. Somewhere in there. Thankfully, Wednesday’s glacial character growth feels believable. She’s complex.
Indeed, the Addams clan themselves ultimately end up being more more grounded in general, by necessity of this longer-form series, without losing any their kooky charm.
And yes, admittedly, Wednesday is a mediocre, if incredibly intimidating detective. She not only falsely accused several people of being behind the murders, but she didn’t even really ‘solve’ the mystery until she thought it was over, received a spoiler-filled vision with the answer, and the Hyde just up and confessed in the police station.
The ‘visions’, in retrospect, kind of sucked. They felt more like a writer’s crutch to move the plot along, rather than a skill Wednesday could learn to wield.
Which is just as well. The core mystery wasn’t really the most compelling part of the show. It was more the interactions with Wednesday and the people of Jericho. So this is a fair point.
Finally, Crackstone’s resurrection, in the finale, is tougher to explain. I suspect his radical shift from firebrand puritan willing to torch an entire barn full of ‘outcasts’, and into being a magic-wielding supernatural being is a side effect of being dead for hundreds of years, existing in hell (presumably, or whatever afterlife), and the preternatural manner in which he was resurrected. But I don’t recall anything about that being touched on in the story, so… yeah, it’s just weird.
Almost as weird as Goody being an Addams and not a Frump, since she’s from Morticia’s side. 😉
These are all minor things — it was so much fun that even the criticisms that have some merit aren’t show-stoppers by any stretch.
One MAJOR nitpick though… a real problem…
Not enough Fester! A terrific tribute to Jackie Coogan’s version of the character while being his own thing. Leaps and bounds better than Christopher Lloyd’s bizarrely gravely-voiced evergreen victim in both of Burton’s prior films.
I would never in a million years considered Fred Armisen as a good choice for the role, but now I can’t imagine him NOT playing him. He’s genuinely a real treat who’s presence is far too fleeting.
Over the last couple years I’ve started using Letterboxd quite a bit to keep track of what I watch, and maintain a list of “to see” films. I’ve been trying to really make an effort to catch all those classics I’ve missed.
Historically I’d be lucky to watch at least one film a month, if that, and it was usually whatever the Marvel flavor of the month is, or something of similar mainstream nerd appeal.
But as of late, I’ve really started to come to appreciate “cheesy movies”, which should come as no surprise being a long time MST3k fan.
But could I do it without the riffing?
No. Fuck straight off.
But I didn’t strictly need Mike and the bots to have a good time, either. Thanks to OSI74 and Cinema Insomnia, and the gang over on the Twitch channel, I’ve been virtually drowning in weird, horrible horror and exploitation this year.
And, of course, a lot the mainstream stuff.
So, looking back on this year, here’s a quick rundown of the four/five star ones, along with a quick blurb.
I’ve seen pieces of this throughout the decades, but never properly saw it front to back. Discovered some new bits, too! The whole European/African question, in context, is a brilliant punchline. And I had no idea about the thing with the cops!
The MCU’s attempt at the multiverse peaked with Loki, and by this point I’m burned out on it as a concept. But EEAaO owns the hell out of it. And it didn’t need two dozen films behind it to give it meaning. Not to be missed. A lot of heart.
Another franchise that seemed to be burning out, but took a risk and went all-in on “the Twilight guy” as Bruce, leaning into a grittier noir-focused take on Batman. Yes, even more so than usual. The cinematography really makes it stand out, even if the film itself is a bit long.
The epitome of a guilty pleasure. Even with the multiversal gimmick laid bare long before seeing it, it was still a delight having all three Spider-men on screen together. They had genuine chemistry that made it really enjoyable seeing them working together. Or even just hanging out bullshitting. But the best part? Having Andrew Garfield’s version of the character be redeemed IN FULL. That made it worth it, all by itself.
Much like Holy Grail, this is one that slipped past me, but I knew enough of it from cultural osmosis that it felt like I’d seen it already. There were plenty of bits I was unfamiliar with, but unlike Grail, those were largely forgettable. A real spectacle of a film, though. It’s reputation is well-earned.
A new favorite, taking a place along side Kentucky Fried Movie and Amazon Women on the Moon. And that’s a sacred spot on my shelf that I don’t just hand out to anyone. This WILL spawn many repeat viewings.
I’m not averse to musicals, but it REALLY has to be good. And I was not aware this WAS one, going in. I was hoodwinked! Thankfully it’s probably one of the best musicals I’ve seen in a long time, and it’s actually a pretty great twist on the usual, tired Christmas Carol concept.
This took me by surprise. The 1980s remake of this is legendary, but I haven’t seen it. Itself another “knew it by reputation” film. I figured I’d see that before I ever laid eyes on this 1951 version of the story, but I’m glad I did. This has some of the most terrifying visuals I’ve ever seen in a film from the era. But that’s probably owed more to my relative lack of exposure. Still, this made an impact on me.
The Guardians of the Galaxy will always be on another level from the rest of the MCU, and this just cements that belief for me. It’s barely 45 minutes long, but it packs a lot of love and heart into that tiny space.
I can’t believe I actually saw Joker. I swore I wouldn’t. But I finally caved. And I’m glad I did: it’s pretty amazing. A moody, violent exploration of mental illness. It’s fans tend to be garbage, though — I get into that, and why that might be, in the review.
A film wearing many hats. Is it an alien invasion movie? Or maybe it’s a metaphor for Pegg’s character stuck in the past? Or maybe it’s an action film involving shattering a child’s skull the wall? Maybe it’s all of these.
This had no reason being as fun as it was. A blend of animation and real life film in the tradition of Roger Rabbit, and easily as enjoyable. This could have gone wrong in a million ways, but it’s clever writing and love of the material keeps it together.