10 Favorite Albums and Songs of 2026
Now that 2025 is over, the window for new music releases is formally closed, and I can share my list of ten favorite songs and albums of the year. (Any sites that published their lists in late November/early December are clearly less legitimate than me, the random guy on the internet.)
My father-in-law is a TV producer. He is insanely gifted. We were watching Burn Notice together years ago and I asked him why we don’t make shows like they made during the Blue Skies era on the USA Network. I will never forget his answer…
“We can’t, we don’t know how to do it.”
They should cast Ryan Gosling as Booster Gold and Russell Crowe as Ted Kord and it’s set in 1970s LA and they’re private detectives and it’s directed by Shane Black and they don’t wear their costumes and they can call it The Nice Guys 2
@beyondreasdoubt Great match as a neutral fan, since I like both players. I like Coco's personality, but when her game is bad, it's BAD, whereas I consistently like Muchova's game (and the fact that she eliminated Osaka). Either way, I was going to be cheering on the winner here in the final.
Gotta say, given how often I agree with how you call balls and strikes, I'm surprised that you liked the series. IMO it horribly misunderstands the point of the movie and basically just wears the setting as a skin suit (similar to how he handled his Alien series, as I hear). I had to tap out halfway through S1, but here's my analysis from the episodes I saw.
The movie is a brilliant attempt to show how a dramatic crime story plays out with humorously realistic details. For example, during the kidnapping scene, the victim can't call the cops because the kidnappers yank the cord (a realistic downside of a corded phone) and she tries to get out of the bathroom window by furiously cranking it to get it open, another humorously realistic image.
In contrast, the series is the opposite, being highly dramatized, but happens to be set in this quaint setting. Its default state is dramatic rather than comedic, completely misunderstanding the appeal of the movie.
For example, contrast the death of the dad in the movie, where he's shot once in the chest (IIRC) and it's mildly funny seeing the feathers from his jacket coming out of the bullet wound, from the highly dramatic "exercise bike" death in the S1 mid-season finale, replete with a convoluted plan and a literal choir to sell how dramatic the moment is. The episode also ends with a tense shootout in a whiteout, which again, is nothing like the movie would produce.
The movie is a brilliant idea, focusing on the very human details in the midst of evil acts, while the series is just Breaking Bad with funny accents.
(To be clear, though, this is all my opinion, and no hate that it differs from yours; different strokes for different folks and whatnot. I'm just surprised to see how we differ here. Also, regarding your recent announcement, I wish you all the best moving forward!)
The fact that nobody in the room pointed out what a bad idea it was at the start, and the fact that so much of the audience is wowed by it or defends it ("it's a personal narrative," as if personal narratives have to be entirely POV and one shot) has always bothered me.
For as much criticism as Ragnarok and the Laufey trailer have received, I've been a bit surprised to not see this criticism, which I've held since about 30 minutes into GoW 2018, hit my feed sooner.
A single camera shot is INSANELY limiting. It was a terrible idea from the start
The choice to have the entire Norse Saga play out like a single camera shot was an interesting choice and kind of cool in theory, but it did severely hamper the games’ ability to have such grandiose vistas.
There are a few shots that do have some inkling of this, but it really does lack in that sheer spectacle the Greek Era games had.
Now, we can argue that the Norse Saga wanted to be more intimate and this their camera direction reflected that, but I feel like there is still balance between the two ends of this spectrum.