I would have to disagree. They are different media, drawing different audiences.
I’ve watched monster movies since childhood as well as science fiction television. While there are emotional and character stories in them, they have a fairly predictable pattern towards a major climactic fight.
My partner has no interest in kaiju movies but is really enjoying Monarch because it has, for them, enough intrigue and character stories to hold their attention.
It’s definitely YMMV. The television medium makes for a very different storyline from the action-focused movies.
It’s the character arcs and intrigue that keep many of us interested. For those who are watching primarily for kaiju action, I can appreciate that it might not be your preference.
It’s a very different situation.
The Wheel of Time was an Amazon Original. The streamer canceled future production.
This is just one season of Monarch that AppleTV licensed to Amazon Prime. It’s more of a promotion than anything since Amazon has a larger global audience.
AppleTV has been targeting high quality science fiction television production. A spin off from Monarch has already been greenlit and is starting production in June. Apple isn’t going to leave the show without a proper finale.
This doesn’t seem to be offered in Canada.
The ‘Pluto Spotlight’ still seems to be on Academy Award Winners.
I see the regular TOS all day channel offered, but the movies aren’t featured in the movie channels.
In the ‘On Demand’ offerings, there’s a ‘60 years of Star Trek’ that offers TOS, TNG & Voyager as well as some documentaries as usual.
In fact, it seems that none of the movies are available on PlutoTV in Canada.
That distribution of reviews tells the story.
An honest distribution of views of people who had watched at least one entire episode would not rate with 1/10 = the worst show they had ever watched.
Not to mention that there are many people posting in other places that “they don’t need see it to know it’s awful” and that they are “campaigning against it.”
I really just want the Aventine Vesta-class.
Very cool.
I wonder if there will be any kind of installation in Canada this time. I don’t see anything listed in the upcoming events.
For the 50th anniversary, the Canadia Aviation and Space Museum in Ottawa had a special exhibition that ran the whole summer. We were able to take our kids. There were a lot of costumes and props but also some interactive activities including a Kobayashi Maru test.
Honestly surprised that you would cite such a transparently manipulated crowd-sourced rating.
Especially when the Rotten Tomatoes pro critic score is 88% — far above the ‘review bombed’ audience score.
Also, it seems you’re unaware that the review bombing was so bad that it’s been having a ‘Streisand Effect’ raising the profile of the show.
When a show or movie has a distribution has a stack of 1/10 “worst show ever” votes and a fairly flat distribution otherwise, it’s clearly not showing votes of people who have seen it.
The IMDb profile is particularly revealing. The overall rating of the show is low 4.4, with lots of 1/10s, but the ratings of the actual episodes run from 4.7 to 7.0 with an average for the episodes over 6 — despite some continuing review bombing.
Here’s the obviously review bombed distribution of votes for the show overall.
Here’s the crowdsourced vote distribution for episode 10
The brigading by review bombers who never watched the show but claim they “saw some reviews on YouTube and know all they need to” got so completely out of hand that the people who have done this have made the situation into a pop psychology meme. Psychology Today even wrote a feature article “The Trouble with Review Bombing” about it.
I also note that haverholm has linked the Flix Patrol rankings that show that SFA drew much more audience on platforms other than Paramount+ — which suggests it’s doing its jog in attracting new audiences.
I guess I felt both in terms of Billy’s life work and all the personal stuff, the Randas keep leaving so much behind that might be useful later.
Glad you enjoyed it. The artist has a few more on his channel.
After the character-focus of episode three, it was nice to have Titan and creature suspense and action balancing the character beats.
Gut punches again following Billy’s reaction to finding the letter and pursuing his mapping of Titan migration patterns. I was really frustrated that they didn’t grab everything on that board in the level ten basement.
It’s good to finally have Cate on board after she bottomed out in the last episode.
Kentaro keeps on showing competence, it was good for Keiko to intervene with Hiroshi to say that perhaps he’s not letting Kentaro know he can see it.
May/Corah buying in to Apex’s agenda for her code was not what I expected but based on what we’ve seen in the show, perhaps I should have. This show needs to lay down the pipe for events to come in the movies in this continuity — and Corah is an unusual legacy character in that her actions have established impact later.
The Skull Island creatures in the lab were disturbing but interesting.
Last thing, in addition to the teaser Apple released earlier this week with the opening scene of the surfers, the scene of Shaw breaking the creatures out of the Apex basement was posted yesterday.
I caught it by chance and wish I hadn’t. It took away the surprise and diminished the impact for me.
To get Hiroshi’s device back, Shaw and the team execute a daring heist at Apex Cybernetics.
Written by: Al Letson
Directed by: Hiromi Kamata
Welcome to the episode discussion! There is no spoiler protection in episode discussion threads, and spoiler tags are not necessary!
The question I have in my mind is whether the Godzilla audience that is primarily there for big monsters (and/or powerups) is the American / English language audience vs the Japanese and global one.
Monarch is ranking better with Asian audiences than English speaking ones, which suggests that it may have a different reach than other American licensed-kaiju media.
I haven’t seen any Japanese reviews — the Japan Times feature was more about how the show is being increasingly produced in Japan.