All posts by Jesse

Ejected from the Planet of the Apes

Rob and I were ejected from the Planet of the Apes (the movie, not the planet) in 2001. We got a chat going to explain what happened.

ROB
When was the last time we IM’d each other?

JESSE
Probably sometime after we saw Planet of the Apes 2001 but also way before Rise of the Planet of the Apes came out in 2011.

ROB
Only a decade between the two? It felt like a lifetime

JESSE
Right? A lot of these franchises get rebooted or whatever way too fast, but we straight up got into long-term relationships and got married in the lapse between Apes movies.

ROB
Sabrina and I had been dating a few months. But I don’t know if she had yet to meet my parents when we first attempted to see the Tim Burton Planet of the Apes.

JESSE
I had met Marisa the spring before at school and we were chatting online a lot that summer. In fact I think her friends went to go see it the same night that we tried and I’m sure I emailed or IMed her about our misadventure.

ROB
Oh you guys were totes in touch, but you hadn’t sealed the deal yet

MARISA
So this is a Google Hangout?

ROB
I don’t know if this counts as a real Google hangout because it’s text only Google hangouts are an insidious plot to get unsuspecting people to sign up for Google+

JESSE
First: background by way of what I’ve been listening to on a loop for the past 24 hours and am listening to RIGHT NOW: I got my cassette-to-computer device working and ripped the audio of Planet of the Tapes, the mix tape I made for the drive to Crossgates Mall to see Planet of the Apes (2001). At least the intro will be available as a download with the transcript of this conversation.

ROB
Ugh, I prepped for this by listening to the Apes jams bonus tracks on Severe Tire Damage. I learned nothing.

JESSE
But SO DID I, because those bonus tracks are all over the mix! Weirdly, though I had only seen the 1968 original at the time, the two best They Might Be Giants improv’d Apes songs are in fact my two favorite Planet of the Apes sequels: Escape from the Planet of the Apes and Conquest of the Planet of the Apes.

ROB
“This Ape’s For You” isn’t one of your favorite Apes movies?

JESSE
OK, so to fill in, Rob and I and our buddies did this thing where we made 30-minute tapes for the drive to Saratoga to Crossgates Mall outside of Albany, for the movies we were particularly psyched about.

ROB
Our buddies was usually Jesse, Me, Chris, Jeff, and whatever girl had yet to realize we weren’t that charming.

JESSE
I was trying to remember what the other mixtape-worthy movies of summer 2001 were, and I’m pretty sure it was just Moulin Rouge! and A.I.… which is actually pretty spot-on. But in retrospect, it’s weird that Apes was the only really big blockbuster type thing that got the tape treatment that summer. Which actually makes sense because summer ’01 was a bunch of really uninspired sequels and also Michael Bay’s interpretation of Pearl Harbor.

ROB
It ended up being low key as it was me, you, Chris, and Ofy. But the ape tape is important to the story.
Continue reading Ejected from the Planet of the Apes

Ruth Graham, Not Quite Wrong: Why Liking YA Literature Doesn’t Make It Great

Do you read? Do you also read the internet? If so, you might be aware of an article posted on Slate by Ruth Graham, pegged to Fault in Our Stars mania as a film based on that ultra-popular, mega-beloved John Green young-adult novel was poised to make a killing at the box office (it did, albeit in a more Twilight-y way that some might have expected, given its mostly positive reviews). Graham’s piece discussed the phenomenon of adults reading YA literature, and her argument against it. It was dismissive, maybe even a little haughty, and outfitted with a sensationalist headline (backed up by some actual sensationalist prose) about how adults should be embarrassed to read these kinds of books.

And a part of me agreed with her.

Let me be clear: I do not agree with the idea that anyone should be embarrassed by what they read. Though I don’t use my degree in Library Science (I prefer the Dark Arts of Libraries, but that’s not what the diploma says) often, one thing I did take away from my professors, many of them with experience as school or public librarians, was that reading is reading is reading. It is a net positive, no matter what it is that’s being read. We all have things we read that we could, in different contexts or historical periods, be embarrassed about: comic books, Choose Your Own Adventure, romance novels, Garfield books, Animorphs, Twilight, Slate. There is no reason to be embarrassed by what you read because whatever it is, you have it over on someone who does not read at all.

Strangely, although reading is generally seen as a more worthwhile pursuit than watching things, the stigma attached to watching the “wrong” things seems far smaller, far easier to laugh off. People talk about how they watch those Real Housewives shows all the time. As a movie guy who prides himself on having pretty good taste, I’m not embarrassed to have seen Ballistic: Ecks vs. Sever and I’m not even embarrassed to have seen and enjoyed a number of Resident Evil movies. I’m sure some people would be, but I wonder if the general academic/education notion that sitting in front of the TV (or, now, screenamajig) was generally bad for you (save the occasional ingestion of PBS) was in vogue for so long that some are still working through the distinction between bad TV and just TV, in terms of potential embarrassment. I understand that the alleged extremely high quality of television gets a lot of press these days, but I’m speaking in terms of culture-at-large perceptions here, not necessarily of the pop-culture-studies AV Club audience.

In any event: on the matter of embarrassment, regardless of how tongue-in-cheek and/or attention-baiting its use was intended, Graham is incorrect. Friend of and hopefully future contributor to SportsAlcohol.com Jen Vega wrote a very smart piece further dismantling much of Graham’s argument in a thoughtful, measured way. Graham is wrong about a lot.

That said, again:

A part of me agreed with her.
Continue reading Ruth Graham, Not Quite Wrong: Why Liking YA Literature Doesn’t Make It Great

Let’s Talk about X[-Men: Days of Future Past], Baby

So: X-Men Days of Future Past came out. It got some good reviews and made some good money and generally re-affirmed the X-Men as a big franchise for Fox that nonetheless doesn’t have quite the same cross-demographic appeal as an Iron Man or Batman movie (it may, however, become the first X-Men movie to outgross a Spider-Man movie — then again, X-Men: The Last Stand may retroactively gain that title against Amazing Spider-Man 2, too).

In an ideal world, we’d have a post-movie podcast for you, but 2/5 of the SportsAlcohol.com founding editors have been afflicted with a variety of maladies over the past two weeks, and that’s not counting whatever other diseases may be circulating our upstate offices. Our healing factor is decidedly unWolverinelike and I can’t really hear out of my left ear at the moment so any podcast would be like forty percent me going WHAT?! (though if we had done a podcast after X-Men: The Last Stand, that number would have been more like 78%, for different reasons).

What we can offer is a little X-Men discussion forum, so please, by all means, respond to the prompts below or just talk about your unrelated X-Men experience. Spoilers likely abound.

Stray Comments:

–While the movies insist on making Wolverine a major character in most of their stories, this may be the first X-Men movie to really use Wolverine as part of the X-team and without working in his personal issues or feelings of ambiguity toward the idea of X-Men into the center of the story (though his personal issues do loom in the background).

–I think it’s probably safe to say the “Singer is OK but he can’t really direct action” stuff should be put to bed considering the portal-hopping sequence and the Quicksilver sequence. I would have been fine with putting it to bed after X2; on the other hand, I’m sure this will somehow be a chief objection to X-Men: Apocalypse in two years, assuming he gets to make that movie.

–It’s easy to imagine a version of this series that turns Xavier/Charles/Mystique into a Bad YA-style love triangle, so extra props for that being dramatically fertile material both here and in First Class.

–I’ve heard lots of talk of how this movie actually makes the credits stinger from The Wolverine make zero sense, but after talking it out, actually, I think it totally makes sense. When we join the future X-Men in DOFP, Wolverine is fully committed to fighting with them against the Sentinels. So when he’s approached by Professor X and Magneto two years after the events of The Wolverine, they’re recruiting him when the Sentinels are starting to become a threat. This does not explain how Xavier got his body back from where we left him post-credits in X-Men: The Last Stand, but that’s neither here nor there. I’m not saying there aren’t continuity hiccups here and there, but I think the Wolverine thing is actually solid.

Stray Questions:

–Is McAvoy now officially your favorite Professor X? Much love to Patrick Stewart, who I’m pretty sure was the original (and only?) oft-fan-cast actor to actually work out, but McAvoy does a lot of the heavy lifting in this new movie, acting-wise.

–Quicksilver: Everyone’s new favorite X-Man? I never read any comics with him. What’s he like in them and how might he be different in The Avengers 2, which somehow also has the rights to use him?

–By actually doing a time-travel story that changes whether previous movies have happened or not, did the X-Men series actually and possibly accidentally become the most comics-faithful movie series ever?

–Who do you want to see on the team in X-Men: Apocalypse? And what will be credit-teased in that movie? X-Men Origins: Gambit?

–There are now seven X-Men movies. Rank ’em out!

Every Adam Sandler Comedy, Ranked

Adam Sandler has never been a critical darling. This information is practically a cliché; even the movies now regarded as his early, funny ones didn’t exactly receive glowing notices during their original runs, and as the audience that enjoyed his early comedies aged into possible critical-establishment roles, they, too, came to lament the low quality of his vehicles. As a former fifteen-year-old, I think I can attest that this isn’t just grumpiness or nostalgia setting in: I dutifully see Adam Sandler comedies not because they’re usually good, but because they can be good, and I want them to be good. Regardless of what we pointy-headed types may look at as diminished returns, Sandler has remained a popular movie star (in his comedies, at least) for close to twenty years by this point. He may not have hit the same box office or critical highs as fellow SNL players turned movie stars like Will Ferrell or Mike Myers, but in terms of pure numbers, he’s probably the most financially successful (depending on how you count Eddie Murphy’s more erratic mix of massive hits and huge flops).

Though they do vary in quality, it’s his consistency that has come to define his career. The sheer uniformity of his output remains almost unmatched: the vast majority of movies starring Adam Sandler come from his Happy Madison production company, with multiple writing, directing, and/or producing credits from Sandler’s usual gang of buddies, associates, and hangers-on (for these purposes, movies made with Sandler’s usual screenwriters, producers, and/or directors before the official creation of the Happy Madison shingle count towards that total).

This includes the twenty-one movies that I’ve fudged into a top (or bottom) twenty below. This list does not include the more serious movies he has made for other people every two to four years (Punch-Drunk Love; Spanglish; Reign Over Me; Funny People); his voiceover work in Hotel Transylvania (borderline, because it features Sandler’s buddies in supporting roles and a co-writing credit from Robert Smigel, but is also very much of the Sony Animation house style and presumably would have been made without Sandler’s participation); or his sole action-comedy, Bulletproof. Sandler also did supporting roles in a couple of unsuccessful comedies in 1994: Airheads and Mixed Nuts. I have seen them both; let’s leave it at that.

For each Official Adam Sandler Comedy, I’ve included notes on which of Sandler’s team of SNL writers (most often Tim Herlihy; sometimes Fred Wolf, Robert Smigel, or Steve Koren) and journeyman directors (Dennis Dugan, Frank Coraci, Peter Segal, Steve Brill) get credit, along with counts of how many SNL performers he manages to hire. I have not included Allen Covert, Peter Dante, or Jonathan Loughran in these counts; just assume that all of them are in all of these movies and that Covert produces most of them, even if that’s not literally true. I’m also avoiding doing a Nick Swardson tally. He’s been in eight of these. It feels like more. Finally, I’ve noted Sandler’s myriad love interests, not only because they represent a surprisingly and weirdly diverse cross-section of name actresses from the past few decades, but also because it’s worth noting how many of them are significantly younger than he is, even (especially) when he’s playing a total man-child.

Sandler’s consistency makes the task of ranking his films perhaps even more fruitless than the usual list-making; both his best and his worst can be considered toss-ups, especially when you subtract the easy outs of Punch-Drunk Love and Funny People, which are the two best movies he’s actually appeared in. But closer study does reveal not just the way Sandler repeats himself, but the way his repetitions accommodate subtle shifts, occasional jumps in quality or particularly ill-advised detours. (Longer essays or reviews I’ve written about some of these films are linked to their titles, when available.)

Herewith, your intro to those Adam Sandler studies.
Continue reading Every Adam Sandler Comedy, Ranked

Why the X-Men Movies Are Better than the Marvel Cinematic Universe

When Bryan Singer’s X-Men was released on July 14, 2000, it was the first big superhero movie of that summer. It was also the first big superhero movie of the year. It was also the first big superhero movie since Mystery Men, a superhero spoof based on a comic book hardly anyone had heard of, flopped a year earlier. The last superhero/comics movie to hit before X-Men was the first Blade movie in 1998. The summer before that, the major superhero movies were Batman & Robin, Spawn, and Steel, starring Shaquille O’Neal.

X-Men‘s unexpected status as the most financially successful superhero movie that did not feature Batman or Superman emboldened movie studios to produce additional superhero movies, no longer mortally afraid that they were making the next Steel. Likewise, the fact that X-Men took the X-Men seriously encouraged audiences to attend superhero movies, no longer mortally afraid that they would wind up seeing a movie starring Shaquille O’Neal or Spawn. Spider-Man followed in 2002, hitting even bigger; Daredevil, Hulk, Fantastic Four, a new Batman series, some more Superman, and two even bigger X-Men movies followed — all before Iron Man re-kickstarted the genre by establishing Marvel Studios in 2008.

I begin by establishing the lineage of Singer’s X-Men because given the deluge that followed, for a lot of people, that’s what it represents: the laying of respectable groundwork for what followed. To be sure, the series as a whole has its fans, and probably some of those fans think back fondly on the first movie. But with its middling special effects, abbreviated running time, lack of massive spectacle, and reputation as a movie exceeded both by its immediate sequel and many superhero adventures that followed, I think it’s safe to say that most fans of comic book movies would place that first movie (and likely most if not all of its sequels) somewhere below The Avengers, the Captain Americas, at least two of the Iron Mans, and one or two Thors, and maybe somewhere above Spider-Man 3, Elektra, or the various attempts to start a Hulk franchise on the Marvel Movie Continuum.

I think it’s also safe to say most fans of comic book movies are incorrect.

The subject of the most ardent fan and even critical approval these days — among movies based on Marvel Comics — are the ones that come directly from Marvel Studios. Here I should note that I like all of those movies, with the possible exception of The Incredible Hulk, which I would have a stronger opinion about if I could remember at all. I would even venture to say that I like Iron Man 2 far more than anyone you know, and that I was on board with Captain America even before Winter Soldier. But when The Avengers, a movie that very nearly made my Ten Best list for 2012, came out, one of my main thoughts about it was: Finally! A Marvel Studios movie that I like nearly as much as the best X-Men and Spider-Man movies!

Let me explain.
Continue reading Why the X-Men Movies Are Better than the Marvel Cinematic Universe

Godzilla ’98

My friends and I did go to see the 1998 version of Godzilla three times in the theaters. This is a story about that although not what actually happened.

We graduate high school in four and a half weeks but first: Godzilla. On the balance, we’ve spent more time planning for Godzilla. Ivan explained it best: graduation is already set. Maybe some of the dumb kids have to sweat passing classes or getting credits, but the four of us have been cruising for months, or at least since I found out I wouldn’t fail gym for cutting most of the last quarter. We aren’t planning the ceremony, we don’t have to pick out clothes, people will tell us where to line up and where to sit, parents will plan the parties and order the macaroni salad and the cake with our pictures on it. But none of those parents or teachers or guidance counselors got us set up with Godzilla. We had to figure that out ourselves.

It started last summer when we saw the trailer where Godzilla’s foot came down and crushed a dinosaur skeleton in a museum, which was a clever way of saying fuck dinosaurs and fuck the movie you’re about to see which was The Lost World, which we still argue about on roughly forty percent of car rides: Henry and I pro, Chuck and Ivan more con.

Godzilla would obviously not invite this kind of controversy.
Continue reading Godzilla ’98

HAIM Is the Best Band and Could Be Improved

Sportsalcohol.com co-founder Sabrina introduced me to HAIM about a year ago via their song “Forever,” before they had a proper album out. I cannot recall liking a band more instantly. Days Are Gone came out on my birthday last year, and I bought it and loved it also more or less immediately. Then, finally, after a lifetime of hard work, Marisa and I were rewarded with seeing HAIM at Terminal 5 in Manhattan last night with SportsAlcohol.com contributing bassist Jeremy, and it was fantastic. The ladies of HAIM rocked out, whipped around their hair and their different types of charisma, and the show was every bit as good as it should have been — maybe better, considering it was an hour-plus set built around exactly one album. Basically anyone who has enjoyed the band on that album would have a great time at their show.

I mean, check out this setlist:

Falling
If I Could Change Your Mind
Oh Well [Fleetwood Mac cover]
Honey & I
Days Are Gone
My Song 5
Running If You Call My Name
Don’t Save Me
Forever

XO [Beyonce cover]
The Wire
Let Me Go

AND YET: was this my ideal HAIM setlist? No. No, it was not. As good as the show was, I saw many ways it could have bee improved. Herewith, my ideal fantasy setlist for HAIM:

Falling
If I Could Change Your Mind
Wrecking Ball [Miley Cyrus cover]
Teenage Dream [Katy Perry cover]
Bizarre Love Triangle [New Order cover]
[pause for hair tutorial]
Honey & I
[banter about how cool Marisa and Jesse look out in the crowd]
Marisa and Jesse Are Our New Best Friends [new song]
Jeremy Is Also Super Cool [new song]
Days Are Gone
My Song 5
[screening of new Godzilla movie]
Running If You Call My Name
Don’t Save Me
Belle [cover of song from Beauty and the Beast]
Forever

XO [Beyonce cover]
Countdown [Beyonce cover]
Radio [Beyonce cover]
Irreplaceable [Beyonce cover]
Let Me Go
The Wire
The Wire
The Wire
Marisa and Jesse Are Our New Best Friends [reprise]

Maybe next HAIM.

HAIM darker

Top 10 Reasons Spider-Man 3 Is Better than The Amazing Spider-Man

When Marc Webb’s The Amazing Spider-Man premiered in July 2012, the general reaction seemed to be: well, it’s better than Spider-Man 3, obviously. A few passionate defenders called Amazing a better, more faithful representation of the Peter Parker and Spidey of the comic books than the Sam Raimi take, but for the most part, the movie seems to have been met with something between an affectionate shrug and an encouraging smile. But at least it was better than Spider-Man 3. Obviously.

The Amazing Spider-Man 2 (for serious, you guys still aren’t going with The Spectacular Spider-Man for a sequel title?) opens this weekend to kick off the summer movie season, and while the early reviews seem a bit more mixed than its predecessor’s, it almost certainly won’t be treated with the same level of derision as Spider-Man 3. Obviously.

Now, I haven’t seen The Amazing Spider-Man 2 yet. There will be a SportsAlcohol.com editorial summit on Friday night to determine what the deal with this movie is. But I have seen The Amazing Spider-Man, and the thing about that movie is: it’s not as good as Spider-Man 3. Not nearly.

The thing about Spider-Man 3 is: it’s actually pretty good.

Not as good as Spider-Man and certainly not as good as Spider-Man 2. To be sure, Spider-Man 3 is the weakest of Raimi’s de facto trilogy, and has two major problems that feed into each other: overcrowding and retconning. Before we get to the good stuff, these problems should be addressed.

The supposed problem of villain overcrowding has been noted at least since Batman Returns in 1992, and indeed, the first series of Batman movies seemed to add bad guys indiscriminately for easy stakes-raising. But as Christopher Nolan’s Batman series has shown, multiple villains don’t have to mean jammed-up storylines: that trilogy managed to include Ra’s al Ghul, Talia al Ghul, the Joker, Two-Face, Scarecrow, Mr. Zsasz, Bane, Carmine Falcone, and Catwoman. Some had bigger roles than others, of course, but that’s pretty much the same number of villains that populate the Burton/Schumacher films.

Unfortunately, Spider-Man 3 adheres more to the Schumacher model of villains, only it’s applied to the entire cast. Apart from the introductions and transformations of Flint Marko (the Sandman) and Eddie Brock (Venom) and the revival of the Green Goblin in the guise of Harry Osborn, Spider-Man 3 adds Gwen Stacy (played by Bryce Dallas Howard) and her police-captain father while continuing to utilize its beloved supporting characters (Aunt May, J. Jonah Jameson, Betty Brant, Curt Connors) and, if anything, upping the screentime afforded to Harry Osborn and Mary Jane Watson. The movie also serves its themes of internal conflict by having several main characters toggle back and forth between personalities, essentially piling on additional characters even when familiar ones are onscreen: Peter Parker bonds with an alien symbiote that brings out a dark side to his personality. Harry Osborn loses his memory (and thirst for vengeance against Peter/Spider-Man), then regains it. Mary Jane has a real flirtation with Harry, then is manipulated by him when he re-evils.

The movie has so little actual room for its characters that it ret-cons them into the earlier films whenever possible. Flint Marko turns out to be involved in the death of Peter’s Uncle Ben, just to give him some convenient incentive to seek symbiote-encouraged revenge. Less of a direct retcon but perhaps even more ridiculous, Bernard Houseman (John Paxton), the Osborn butler for the entire series, decides late in the film to come forward and tell Harry that his father was a murderous lunatic and that Parker did not kill him, and for some reason this and only this can convince Harry to renounce his evil ways (and for some reason Bernard did not see fit to share this information sooner).

Individually, most of the movie’s characters get a moment or three where they shine. Narratively, though, Spider-Man 3 is a mess. Both of the overcrowding and retconning stem from a script that seems unfinished at best; check out that patchwork bit where local news narrates Spider-Man’s big climactic fight with Venom and Sandman. There is also, as mentioned, some whiplash-inducing twists and reversals between Peter, Harry, and MJ in terms of who is wronging who and for what reason.

AND YET: Narrative is overrated sometimes. Spider-Man 3 is a lot of fun and far more good than bad. It came out a year after X-Men: The Last Stand, and for some reason that movie got a pass as a mild disappointment from a lot of fans, while Spider-Man 3 is still held up as something as a disaster. It’s not a disaster! It’s a pretty good movie with a pretty weak script! Surely you’ve heard of this practice before. It also takes Spider-Man to some new places, which is a lot more than I can say for The Amazing Spider-Man insisting that it’s taking a different approach while more or less remaking the first Raimi movie with a minimum or imagination. If we’re going to say that Marc Webb didn’t make a terrible Spider-Man movie, then we as a culture need to admit that Sam Raimi never made a terrible Spider-Man movie.

And so:

Ten Great Things about Spider-Man 3, In No Particular Order

Continue reading Top 10 Reasons Spider-Man 3 Is Better than The Amazing Spider-Man

The 25 Best Hold Steady Songs of All Time (For Now)

A couple of weeks ago, the Hold Steady, a Minneapolis-by-way-of-Brooklyn indie rock band that sings about lost teenagers, drifting adults, various scenes, and other bands, put out their sixth record, Teeth Dreams. It’s their first album in four years, and basically the only time any of the band’s fans have had to wait any real appreciable amount of time for something new; the first five came out in 2004, 2005, 2006, 2008, and 2010, never more than two years apart. This daunting pace was eventually slowed by some lineup shifts, extensive touring, lyricist and singer Craig Finn taking a solo-record detour, and, you know, life and stuff. The first three Hold Steady records are, to this fan’s ears, basically masterpieces, and the others are pretty damn good, too; it’s probably inevitable that the band would need a break from eighteen-month album cycles.

In celebration of this fresh batch of songs, the editors of SportsAlcochol.com decided to poll some other Hold Steady fans and come up with a definitive Top 25 Hold Steady Songs (So Far). Fourteen people, including many writers and zero professional music critics, composed top ten lists that were either weighted (if ranked) or distributed equally (if not). Points were tallied, songs were ordered, ties were broken by number of list mentions, cases were made, and, probably, feelings were hurt.

With a band that so smartly engages with the pleasures and dangers of nostalgia, there’s a very real danger and palpable pleasure that a list like this becomes a catalog of greatest hits from everyone’s favorite couple of albums — mid-aughts nostalgia for nostalgia about a time, nonexistent for anyone participating in this poll (as far as I know) when the eighties almost killed us. As to whether that actually happened, well, read on. Individual top tens seemed like the right number to ask for, given that, by my count, the band has fewer than 100 original tunes — but it nonetheless forced us all to make some hard choices. I will say that while no songs from Teeth Dreams made the list, consider this: “Oaks,” the new album’s nine-minute closer, came close, outscoring several stone-cold Hold Steady classics in the process. That seems to me a sign that this band will continue making great songs for years to come. My personal pick for a future classic: “I Hope This Whole Thing Didn’t Frighten You,” the propulsive narrative that opens Teeth Dreams with classic severe understatement. The point us: we compose this list not to eulogize the band on the tenth anniversary of their debut record, Almost Killed Me (it came out April 20, 2004), but to pay tribute as they set out on their latest tour.

Continue reading The 25 Best Hold Steady Songs of All Time (For Now)

Let’s Talk about How I Met Your Mother

So How I Met Your Mother came to an end this evening. I have thoughts. You probably have thoughts. My wife definitely has thoughts. Maybe let’s talk it over in this open thread?

Open questions:

-Loved it?
-Hated it?
-Can we leave Ted alone now or does everyone just hate him more?
-Other finales you loved/hated/did it better/did it worse?
-Is there an optimal number of seasons for a really good show to run?
-It’s seven seasons, isn’t it?