Now I want to play Plague Inc…

You can buy worms for fishing at stores. Someone has to breed them to maintain consistent supply.

She’s a Qanon die-hard first, Trump supporter second. A portion of the Qanon faction has started to break with Trump over the Epstein stuff.

I don’t know why I remember this, but there was also a Spongebob episode that showed a potted peanut plant with peanuts growing on it like peas do.

He’s an unaltered clone, just a younger duplicate of Jango.

The 360 had far less RAM than the average PC of 2010, and the engine has had a memory leak since Morrowind. I never finished New Vegas due to that, even on PC. Moving to a 64-bit version of the engine with Fallout 4 helped a lot, just because it took longer to run out of memory.

The monitor has to send some data to the computer to tell it what screen resolutions it accepts. VGA, HDMI, and DisplayPort will all do that for sure. Less certain about component, composite, and S-Video.

Fuck yes. A slave that takes on the slave owning Templar? Sign me up all day, I want to run into a confederate camp and crush them.

Freedom Cry, the standalone expansion for Black Flag, was essentially this concept in the Carribean. You play as Adewale, a slave turned pirate turned Assassin, and liberate plantations.

Cowboy Bebop and the Ghost in the Shell movies are great places to start.

Anyway, it’s not so much a change in what’s being produced as what’s being imported to the US. There was a good mix of shonen and seinen at first, but shonen sells more merch so we get a lot of it now. Just watch stuff tagged as seinen if you want more mature themes or more sex and gore.

Gotham’s government is also roughly 97% organized crime families, so throwing money at the problem only goes so far.

Star Trek?

This has been a problem for far, far, longer than you think. The silver age definitely had it, the golden age probably did, and I wouldn’t be surprised if it cropped up in the proto-superhero stories, like Zorro. It’s a consequence of having a long-form story where the narrative’s status quo isn’t allowed to meaningfully change and characters either aren’t allowed to die or aren’t allowed to stay dead. Recurring antagonists also can have much richer characterization and more complex relationships with the protagonists, which makes writing stories about them more appealing the more often they appear.

The usual trajectory for a new superhero or new incarnation of an existing superhero is to start off with street-level problems, then get a nemesis that has strong ties to those street level problems, then have the dynamic between the two grow in prominence to eclipse all other parts of the plot. The Joker, for instance, always starts off as either a mob boss with a gimmick or a serial killer with a gimmick, not far removed from the mundane crime Batman always starts with, but always winds up with a fixation on Batman and spawns stories designed as some commentary on Batman’s no-killing rule. Again and again and again, dozens of times over the decades.

Why? Because the dynamic between the two characters tends to be fascinating and results in audience engagement.

Europeans and Asians also have roughly 2% Neanderthal DNA on average, so it’s likely we absorbed a significant chunk of their population into our own.

The Tower is bad, but The Devil may be worse. Once you know what Yorinobu is up to, the one ending where he’s stopped before he can pull it off is pretty bad.

Kane Westwood lives in death!

At what point does it become a grass roots movement?

Worse. The network went under and they finished up the show with the remaining budget, cramming the front half of what was supposed to be season 5 into season 4. They didn’t get picked up by TNT until after they filmed the series finale. After unexpectedly getting renewed, they filmed a new season 4 finale and pushed the already filmed finale back to the end of season 5. And JMS had to scramble to fill content now that half of it had already been used.

Going to be completely honest, Dexter isn’t worth finishing. The first few seasons are fun, but the show struggles to actually go anywhere until the final season, at which point it goes straight into a ditch. I think I lost any lingering respect for the show around season 6 and kept watching due to sunk cost fallacy and nostalgia for the first couple seasons. I haven’t watched the spinoffs, but the only one that’s finished so far apparently followed the same trajectory over much fewer episodes.

The first Klingon BoP in the movie was originally a stolen Romulan prototype in an earlier draft.

Babylon 5 is literally the only show I can think of with full length seasons and seasons that don’t have episodes wasted on filler, and that really only applies to seasons 3 and 4, when the showrunner personally wrote every single script. He also wrote all of season 5, but there were production issues that messed with the pacing of the front half. The stress of writing 22 cohesive and relevant episodes every year was also getting to him. Somewhere in the 10-14 per year range feels like the sweet spot to me.

That said, a season needs to come out each year, not every other year. When there’s too much time between seasons, the audience and the writers start losing track of how little time has passed in-universe and then characters start getting over things oddly fast.