u/Over-Heron-2654

I mean, I am someone who thinks he should have stayed either a villain or at least an anti-hero or vigilante. But putting that aside, and working with the Superhero route... s4 Max vs Undercover Show Max...

Why did they make Max a really dumb guy who just cracks jokes? In the show, Max had other emotions outside constantly goofy. He had serious moments, and struggles, and an actual arc. He was actually really smart, outpreforming Phoebe at the math contest and literally building rockets in his basement. He was liked by his classmates who voted him class president, and was part of a band. Now he literally feels like Bradford more than Max.

Stumbled cross it on Netflix. Watched some Nickelodean when I was a child, but I never caught this.

1. Max is easily the best character of this show and has the most depth, also being portrayed by the best actor in the show. His attachment toward being a supervillain makes a lot of sense, and his character development is actually pretty good for a kids sitcom. I wish that he was a Supervillain for longer than half an episode... the actor could portray villain pretty well. Sure, maybe that'd be too dark of an arc for the show, but it would have been gripping. Also, his turn in that 2-parter was literally his sister's fault; sure, he was considering it, but she actually did it and proved that she had no faith in him after all. And his family reinforced that. His turn would have otally made sense. I also just wish he got to be a 'good' villain or at least an anti-hero, he ends up falling under his sister's shadow anyway. And also, he should have been the one to defeat Dark Mayhem, as his arc was literally centered around him. Hero Max was just not as cool.

2. The best part of the show is Phoebe and Max's relationship. I did not care for the rest of family too much. Oddly, I feel the actors got more than sibling chemistry... but I also think they sell twins well. Phoebe is said to be the perfect angel compared to devil Max, but Phoebe does a lot of mean things throughout the show... I could have loved an arc centered around a darker Phoebe maybe. In the later seasons, I started to find her obnoxious.

3. I was not a huge fan of Link. I just found him dull for a love interest. Allison worked well because she was a goody two-shoes and Max wanted to, well, take over the world. Maybe because Link and Phoebe were just too similar, and thus more boring.

4. Love Bradford. Love Colosso. Pass on Cherry and Oyster.

The evolution of cinematic horror has repeatedly returned to one fundamental principle: external spaces can be used to visualize internal anxieties. Early twentieth-century German Expressionism pioneered this concept through distorted architecture, exaggerated shadows, and psychologically charged environments. Contemporary horror has inherited these techniques, though it has adapted them for a world shaped by digital alienation, liminal spaces, and internet culture. Kane Parsons’ Backrooms project demonstrates how modern horror transforms expressionist traditions into a new visual language. Through architectural disorientation, environmental storytelling, and the weaponization of empty space, Backrooms functions as a modern expressionist film that evolves the techniques of German Expressionism for a digital age.
German Expressionist cinema emerged partly as a reaction against realism. Films such as The Cabinet of Dr. Caligari rejected naturalistic sets in favor of warped environments that visually represented emotional and psychological states. Buildings leaned unnaturally, streets twisted into impossible geometries, and shadows became extensions of characters’ fears. In expressionist cinema, physical space itself became unstable. Backrooms inherits this principle directly, but instead of painted sets and theatrical distortion, it uses mundane architecture transformed into something psychologically hostile.
The most striking aspect of Backrooms is its use of liminal space. The endless yellow hallways, low ceilings, stained carpeting, and repetitive office lighting initially appear ordinary. However, repetition gradually transforms familiarity into dread. Unlike traditional horror settings that rely on darkness or visual excess, the Backrooms are brightly lit and visually plain. This creates discomfort because the environment appears designed for human occupation while simultaneously lacking any evidence of human life. Expressionism historically distorted reality to externalize fear; Backrooms achieves similar effects through hyper-normality pushed beyond logical limits.
Cinematography further reinforces expressionist principles. Much of the footage adopts the perspective of handheld found footage, creating unstable framing and imperfect movement. This perspective places viewers inside the environment rather than allowing detached observation. Hallways stretch beyond visible limits, corners obscure spatial orientation, and the camera frequently captures empty spaces for uncomfortable durations. The result mirrors expressionist compositions where architecture dominates the individual. In Backrooms, characters appear physically consumed by environments that dwarf human scale.
Sound design functions similarly to expressionist shadow work. German Expressionist films used exaggerated visual contrast because silent cinema limited audio possibilities. Modern expressionism in Backrooms replaces visual exaggeration with sonic distortion. Fluorescent buzzing, distant mechanical noises, and persistent ambient hums create sensory overload despite the apparent emptiness of the environment. The soundscape suggests invisible systems operating beyond comprehension. Horror emerges not through direct confrontation but through the implication that something exists outside perception.
The creatures themselves represent another evolution of expressionist design. Rather than functioning as traditional monsters, entities within Backrooms appear fragmented, incomplete, or only partially visible. Their movements often seem digitally unnatural, disrupting viewers’ expectations of bodily motion. German Expressionism frequently presented monstrous figures as manifestations of psychological instability. Likewise, Backrooms entities operate less as physical antagonists and more as symptoms of environmental corruption. The environment creates the monster as much as the creature itself.

Perhaps the most significant modernization of expressionism lies in Backrooms’ relationship with internet culture. German Expressionism reflected anxieties surrounding industrialization, urbanization, and postwar instability. Backrooms reflects contemporary fears: depersonalized corporate spaces, endless digital repetition, isolation within connected systems, and anxiety surrounding artificial environments. The horror of becoming trapped within infinite office corridors mirrors modern experiences of algorithmic repetition and bureaucratic monotony.

I have been having this debate with some of my football buddies, and surprisingly it is 50/50 😂. I was like, lemme see what the internet thinks. A lot of changes in the top heavy teams this off-season compared to a quiet 2025 offseason.

I know we have had some issues with Epps in the past, and this last season it took him a little bit to start playing well. But watching the back half of the season, I thought Epps was pretty good. We do not win that Buffalo game without Epps, let's be honest.

But more than my opinion... I think Fangio loves him. I think he is like a 2024 Zack Baun. We are all asking "why?" But Fangio sees something in him that we don't.

If you make the exclusion of the Raiders game (31-0 against a depleted Raiders roster), which pulled averages up more significantly for a QB like Mahomes who played 3 less games than the average starting QB.
Completion %: 60.7%

• When adjusting for drops, his % goes up to 70.1%, which ranked 3rd amongst starting QBs (same tier as the likes of Cam Ward and Baker Mayfield).

His 88.3 passer rating ranked 24th amongst starting QBs, and his ypa (yards per attempt) was 15th amongst starting QBs at 7.1.

When you look at teams the Chiefs beat in 2025 under Mahomes when he was healthy and they were 6-8, NONE OF THE TEAMS THEY BEAT MADE THE POSTSEASON. Many of those wins included teams like the Commanders, Giants, Raiders, and Colts. His offense averaged 21 pts/game in the first 3 games of the season against relatively statistically worse defenses like the Giants.

I would be curious about his 2023 and 2024 averages, since one season lows could be a result of coaching issues (as my team is well aware) or roster construction or time of possesion (defense/offense dependencies). But no one is having these conversations about Mahomes right now!

I have seen some terrible endings to television shows. But these 2 shows have to be the most egregious I think I have ever season. They are so bad, I sometimes wonder if the entire project was written and planned by AI because everything is such trash. It is like the showrunners care about fan service, fake outs, and love pointless filler.

I hated the final season of Stranger Things, I did. I know some of the fans try to pretend like it is okay when it really is nowhere close to okay. But "The Boys" has done even worse in my opinion.

I loved the premiere and the actor. It was fun at first... but now i am halfway through the season and they are overusing him like heck. His dialogue is so corny and evil it feels too ludicrous to me. I also just do not understand why they would not instantly go to war. Sure, Deryll might die and maybe they all die, but there is no way the whole population of Alexandria is going to bow down to a lunatic.

I am just counting the episodes to the finale where he inevitably dies because the fuck is getting annoying.