IDSG bonus episodes are a regular extra just for patreon backers of myself or Daniel here's a preview of the new one another thing I noticed on this rewatch is how incredibly brisk and efficient it is you you get like you you you you meet Richard Kimball you find out who he is in terms of his job his wife his friends his personality his career situation you see his wife you see his colleagues who are important to the plot you the wife gets

murdered he gets arrested interrogated tried convicted and sent off to prison and that's like 20 minutes that's the first 20 minutes yeah it's just band band band band band that's it and then as you say the lot the last 20 minutes is the resolution he's worked it out he's having a fight the cops are there helicopter gun bad guy gets gets knocked out Sam Gerard and Richard Kimball our friends in the car that's like the last 20 minutes and the

entire like hour 10 in the middle is just Richard Kimball investigating and evading capture that's obviously the point to the film the film knows what the point of itself is the point is Harrison Ford is on the run and he's investigating and evading capture and that's that's the entire middle section but in order to get you there the film has to do this incredible back story and it just says oh we could do that in 20 minutes yeah no absolutely

whereas again today it would trudge along for an hour before it got you there like a turnels again an hour in when i gave up basically nothing had happened

and this movie is like it's it's already like spent it's load in the first hour or at least you know it is done the it is done the thing that another movie could have done you know for four hours you know like again it is possible to look at like the first 25 minutes of this and go

well that's an episode of a tv series that's a that's an hour long pilot and then you know the next two that's two or three episodes of a modern tv series the first 20 minutes

i don't know i i i'm not disagreeing with you i'm not you know like like like i mean this is the criticism of like bar and tv and um you know i will definitely you know like plot blocking is a thing in which like

you know creatives are told like all right look we need to do 10 episodes and so your plot has to like go out of

wrong along 10 episodes and here are the story be to have here's the straight and so like if you're watching a show like that's why game of thrones happened

yeah that's why game of thrones happened that's why game of thrones was a tv show because in George R.R. Martin's books they found the perfect source material

for modern television serialized high prestige television because that's what George R.R. Martin does he sets plots in motion

and then he's been like in the first little bit and then he spends the entire rest of the 700 pages of the book

blocking the plot or the 17 different plots are all happening simultaneously blocking them from progressing

that's that's a George R.R. Martin book so obviously somebody looked at that and thought now that's television

i think of the original Jessica Jones season the season one Jessica Jones which i quite like

but that's um oh i like that yeah i think that's 10 episodes which really could have been six you know like you

know there's you don't need it don't need it six there's a lot of and then we're introducing this other

character who's going to be like a mean thing in another series or whatever you know and um yeah we

don't we don't need all of that you know and uh you know the it's very clear that they were given

you know sort of a a guideline of um only so much can happen in an episode because you want

people to watch this one and then want to watch the next one you know and that's and that's yeah

again the medium is the message you know the the mature conditions by which has made a fact uh

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