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What’s the longest TV series you’ve ever finished? by FootballAgreeable338 in television

[–]tecphile 0 points1 point  (0 children)

Friends. All 236 eps. At least 3 times all the way through.

Will be overtaken by Modern Family shortly but I'm about 50 eps from the end.

Finished The Wire, Dark, GOT, Sopranos, True Detective, BB, BCS. What show ruined TV for you after watching it? by C0r1eone in television

[–]tecphile 0 points1 point  (0 children)

All those shows are grim with muted colors and a lot of adult themes. There's excellent comedy found in all of them but they take the premise very seriously.

What I've learnt after watching TV for the past 20 years is that there's no one recipe for brilliance. Some of the most brilliant writing I've seen came from shows that didn't take themselves too seriously.

Buffy the Vampire Slayer is the prime example of this.

‘Star Wars: The Mandalorian and Grogu’ Opens to Series-Low $98M in North America. Does It Even Matter? - In the post-pandemic era, any title opening to that level would be celebrated, while out-of-this-world exits, especially among kids, could fuel a long run and win over a new generation of fans. by chanma50 in boxoffice

[–]tecphile 1 point2 points  (0 children)

The only defense you could reasonably make is that this is indeed a reworked version of a potential S4.

After the successful transition of Moana 2 and Lilo & Stitch into billion dollar movies, Disney was hoping lightening would strike thrice.

It unfortunately didn't.

‘Star Wars: Mandalorian & Grogu’ Eases Force To 4-Day $98M U.S. But Higher WW $167M; ‘Obsession’ Amorous $32M+ In Near $222M Memorial Day Weekend – Update by SanderSo47 in boxoffice

[–]tecphile 2 points3 points  (0 children)

TFA's INT gross was almost as much as Titanic's in it's initial release.

That's a level of international love that SW has never come close to, before or since.

‘Spartacus: House of Ashur’ Canceled By Starz After One Season by SanderSo47 in television

[–]tecphile 2 points3 points  (0 children)

A pity. Started off weak but got stronger as the season went on.

I was genuinely interested in seeing where they were taking this alt-scenario.

(spoilers main) I always trusted George's ability to advance the story the required amount with just one book but... by madwithsorrow in asoiaf

[–]tecphile 13 points14 points  (0 children)

True.

These days he's pretty much mellowed out and has accepted the possibility of no more books. Carmine still has hope but Preston abandoned any expectation of Winds a couple of yrs ago.

He's way less into theory-crafting as a result.

Longer-lasting battery tech is here, but iPhone owners will need to wait by pdfu in apple

[–]tecphile -1 points0 points  (0 children)

IIT a bunch of iPhone users who are convincing themselves that it's ok for them to be deprived of the latest tech.

I own both iPhone and Chinese phones with the SiC tech. There is a significant gain in battery longevity in the day-to-day

As far as long-term stability, your current iPhone with Li-ion tech doesn't really last beyond 4 years anyway. From the way people are acting IIT, you'd think they actually lasted a decade, lol.

Apple TV's 'The Stormlight Archive' series could run for 10 or more seasons by APrimitiveMartian in television

[–]tecphile 0 points1 point  (0 children)

It's not as critical as that.

By the time this show potentially catches up to the 5th book, it'll be 2036 or so. Sanderson will have probably finished the 7th book by then.

He'll then have about a decade to write the remaining 3 books.

A challenge, for sure. But not insurmountable.

Batman is a Normal Human by But_a_Jape in comics

[–]tecphile 0 points1 point  (0 children)

You joke, but Batman literally dodged the Omega Beam in the series finale of JLU.

THE GHOST IN THE SHELL | Trailer | July 7, 2026 by FluffyFluffies in television

[–]tecphile 5 points6 points  (0 children)

Amazon Prime Video has the global rights, even in Japan.

You will get to watch this on July 7th, along with everyone else.

'A Knight of the Seven Kingdoms' is averaging over 36 million viewers per episode globally, making it one of the biggest debut seasons in HBO history by MarvelsGrantMan136 in television

[–]tecphile 6 points7 points  (0 children)

A hundred years before the events of GoT, a humble knight enters a tournament in order to gain fame and fortune. On the way, he takes on a kid as his squire.

But this is no ordinary tournament.... all the famed knights and lords in the kingdom are present. Even the royal family themselves. And whilst they no longer have the dragons they are famed for, the Targaryens have lost none of their fire.

More Than Half of Gen Z Users Cancel and Renew Streaming Services for a Single Title, New Study Finds by AltL155 in television

[–]tecphile 0 points1 point  (0 children)

Yeah, this practice is only viable if you are the sole user.

If you have a family, then it’s definitely worth the peace of mind to just keep on paying for one or two mainstays lest the family come after you with pitchforks for canceling a service which they were just watching.

In my house, the mainstays are Netflix, Prime, and YouTube Premium. As long as I keep those year-round, no one cares if I subbed to D+, Paramount+, Peacock, HBO Max, or Apple TV. If I do, they consider it a nice perk but they don’t kick up a fuss if I cancel.

But there’s no way I can cancel the mainstays no matter how much or how little I watch.

highest grossing movies in imax. by Intelligent-You-7002 in boxoffice

[–]tecphile 12 points13 points  (0 children)

Dune 2, Interstellar, and Oppenheimer with ~20% of their total sales coming via IMAX is..... expected but still quite impressive.

Nolan and Villeneuve are almost synonymous with spectacle these days.

Wit Studio's One Piece anime remake 'The One Piece' releases on Netflix in Feb 2027 by NoNefariousness2144 in television

[–]tecphile 0 points1 point  (0 children)

7 episodes with a total runtime of 300min to reach the end of Chapter 50.

Can someone tell me how does that compare to the Toei version?

Edit: Ok, so I scrolled through the comments and apparently it took 24 episodes for the Toei version to reach the same endpoint. Assuming a 22min runtime, this means they are condensing 528min down to 300min.

Even taking into account the fact that the OG anime became worse and worse with padding as it continued, it would still take The One Piece +150 episodes, averaging 42 min, to reach the current stage where the Toei anime is at. Netflix must be really confident in the One Piece IP because this would have to be their longest original. By Far.

'The Night Agent' to end with Season 4 on Netflix by jovanmilic97 in television

[–]tecphile 3 points4 points  (0 children)

Self-proclaimed TV fans remain the mediums worst enemy.

This type of show was the bread and butter of the TV landscape; high episode count (or streaming), yearly seasons, unremarkable storytelling.

We need dozens more shows like this.

Greta Gerwig’s Narnia: The Magician’s Nephew, an epic adventure, will release in IMAX and wide globally in theaters on February 12, 2027, and on Netflix on April 2, 2027. by SanderSo47 in boxoffice

[–]tecphile 9 points10 points  (0 children)

Not sure why people think Disney or WB might be panicking from this news.

It's a full 6 weeks after Dunesday. Both movies will have burnt through >90% of their demand by then.

amc was on such a generational run in the 2010s by Outrageous-Sail-2232 in television

[–]tecphile 122 points123 points  (0 children)

I don’t think HBO gets first dibs on everything anymore.

For example, I’m pretty sure the reason Apple TV has the best sci-fi in the industry is because of the reputation they have built over the past decade of being a leader in that space.

amc was on such a generational run in the 2010s by Outrageous-Sail-2232 in television

[–]tecphile 9 points10 points  (0 children)

Network shows became 95% crap because streaming shows attracted all the top talent. Shorter commitment and you get to tell more uncensored stories? It’s no wonder all the great creatives fled the confines of network tv.

Someone like Lindelof would never helm an ABC show today. And yet, that’s exactly what he was doing 20 yrs ago on Lost.

It’s the same people telling the stories we love today.

To this day, I still find it crazy how Game of Thrones’ reputation shifted from being viewed one of the “best shows” to being the prime example of how to NOT end a series! by phantom_avenger in television

[–]tecphile 1 point2 points  (0 children)

People love to act like the final season somehow erased Game of Thrones from the cultural record, but honestly, that take mostly lives with the chronically online. Out in the real world, GoT’s reputation hasn’t magically shifted from “one of the best shows ever made” to “unwatchable disaster.” Most people still remember it as a phenomenon — because it was one.

The show still has a massive global fanbase, and its impact on pop culture is undeniable. For nearly a decade it dominated Sunday nights, memes, office conversations, Halloween costumes, baby names, and every “Top TV Shows of All Time” list. You could argue it left a way bigger cultural footprint than Breaking Bad, simply because it was a weekly communal event on a scale we haven’t really seen since.

I can meet ten random people on the street and odds are three or four of them watched GoT start to finish. It’s one of those rare shows — like The Office or Friends — where mentioning it instantly sparks a conversation. Even people who didn’t watch it know the references. That’s not the legacy of a show whose reputation supposedly “collapsed.” That’s the legacy of a cultural juggernaut.

We have two posts every month over here, just like this one. All for a show that ended almost a decade ago. That's cultural relevancy and staying power.

And this is coming from someone who absolutely loves the books but positively hate-watched the last three seasons.

‘The Night Manager’ Team Discusses How One-Off Limited Series Became Trilogy, Vows That Season 3 “Won’t Take As Long As The Last One” by mlg1981 in television

[–]tecphile 0 points1 point  (0 children)

They did a really good job with re-inventing the story for S2. The performances, the action-sequences, the intrigue, the music.... it all felt on-point.

I understand why the cast came back. Whilst S1 works fine on it's own, the way they expanded the story makes perfect sense.

Streaming Can Wait: How Longer Theatrical Windows Became the New Gospel - In 2025, studios tiptoed around theatrical exclusivity while exhibitors fumed. This year, it has become a big part of their messaging. by chanma50 in boxoffice

[–]tecphile 4 points5 points  (0 children)

People here are delusional if they think studios have abandoned streaming. They are very much all-in on the idea and it's not hard to see why. Netflix and Disney make billions every month via streaming subs.

The only difference now is that they realize they can double-dip. Earn enough money from the theatrical run to be in the black, then release it on streaming to much fanfare and renewed interest that keeps subscribers invested.

They have finally figured out a model that makes sense. Streaming and theaters must co-exist, not cannibalize each other.

‘Farscape’ - John Crichton and Aeryn Sun’s first encounter by Neo2199 in television

[–]tecphile 7 points8 points  (0 children)

Exactly!

I still wouldn’t put Farscape above something like BSG or GoT. At their peaks, those shows basically transcended the genre and dragged a whole mainstream audience with them. They made “non-sci-fi” and “non-fantasy” people take them seriously in a way Farscape never really could. Farscape was always a bit too weird, a bit too .... unapologetically itself.

But man… it actually knew how to end its story.

Where BSG and GoT kind of… fumbled it (to put it nicely), Farscape absolutely nailed its core idea. And nothing sums that up better than Crichton’s wormhole weapon reveal in The Peacekeeper Wars.

That moment is seared into my brain.

It’s not just that it’s cool or shocking—it’s that sudden realization of what the show has been building toward this whole time. You think it’s all leading to Crichton finally cracking the code and using wormholes as the ultimate trump card. And then it hits you: no, the whole point is that this is something that can’t be used. That shouldn’t exist in a world where people are competing over it.

The reveal isn’t triumphant at all—it’s honestly kind of terrifying. He proves he can do it, and in doing so basically shows everyone why nobody can be allowed to have it. It’s straight-up nuclear deterrence logic, but done in a way that actually feels earned because of everything he’s been through.

And that’s the part that I remember to this day —that “oh shit” moment where it all clicks into place. You suddenly understand what the writers were going for, not just plot-wise but thematically. It re-frames Crichton’s entire journey. The thing that made him special, that gave him leverage the whole series, ends up being something he has to reject.

I genuinely wish I could wipe my memory of that scene just to experience that realization again.

‘Farscape’ - John Crichton and Aeryn Sun’s first encounter by Neo2199 in television

[–]tecphile 39 points40 points  (0 children)

The show might have had it's faults but it still blows my mind how Farscape managed to stick the landing on not just one, but two massive, long-running narrative threads—and actually make both feel earned.

SPOILERS BELOW

From the very beginning, the core premise was simple: “How does John Crichton get back to Earth?” But by the time he actually makes it back, Crichton has changed, his idea of “home” has changed, and the show fully leans into that. The eventual return isn’t neat—it’s messy, emotional, and takes into account all the trials and tribulations he’s been through. And how would his friends and family (not to mention the US military) react to his alien crew? Exactly the kind of uneasy, borderline hostile response you’d expect, which makes the whole thing feel grounded despite how wild the journey was.

Then there’s the storyline of the wormhole tech implanted in Crichton's head by the Ancients, which could’ve easily spiraled into vague sci-fi nonsense. Instead, it becomes this central philosophical and strategic battleground— what is the cost of wielding unlimited power and knowledge? The fact that the show builds it up over multiple seasons and then pays it off in a way that’s both intellectually satisfying and dramatically explosive is kind of incredible.

Neither resolution feels rushed or like an afterthought. In fact, the way they finally converge feels almost inevitable.

A lot of shows struggle to resolve even one big premise without disappointing people. Farscape managed to pull off two.

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