I think the problem is the type of person who might be inclined to “make someone feel bad” by doing killing themselves is often not the most logical person to begin with so going to the next level of framing someone is just probably a bridge too far. It’s fine for fiction I guess, but it ring’s hollow where if the…

Honestly, I’m not sure I buy Faludi’s reasoning there. Douglas was the star in terms of selling the movie (at the time, he was a very big name so you can start with out of touch Star right there with drinking problems if I’m remembering correctly) and the executive’s language while outwardly expressing sexism simply…

I don’t think people have ever been confused about that. The story of the Rebels and the Empire are something that Luke intersects, but it very much comes across as his story of lost family, found family, and then family drama.

I’m not so sure it’s repudiation as its simply engaging with subject matter traditionally left out of hero tales. I just bump this up against the MCU. Andor and Rogue One are about the people, which absolutely could be an ugly, terrible tale when bumped up against a world of super powered people. In the MCU, they’re…

It’s honestly more identity at this point than anything for some people. I think there’s more than enough out there for people to understand why some people have major issues with it.

China is a bigger market revenue wise but it has a lot of drawbacks for a company (especially an American one.) Maybe if/when China comes back out of this nationalist/mercantilist phase the calculus will change for businesses, but a lot of American (or Western businesses) have to offset that revenue against…

Exactly. If you want to make a movie now, how much value is there in thinking about the theatrical experience when all that detail you populated in the bottom right part of the screen is compressed into a 50 inch monitor on 1st viewing? It renders a lot of cinematographer/director conversations moot.

Whedon’s work is what it says on the tin: a director trying to recut another director’s work into a vision the studio wanted. The studio was banking on Whedon’s brand name and it failed.

Whedon’s problem was that he could never shut up and respect collaborators as equals or when they had editorial control. Yea Snyder probably could make something cool together with Whedon, but Whedon would probably backstab every cut, every dialog change, to the point they would be toxic.

Whedon now is almost the flip side of who he was. If you look at what he did, the idea he should be held in Weinstein levels of contempt are absurd. Before, Whedon was defended to a cultish degree when most knew he was an intelligent, witty guy - but also an unrepentent asshole who attacked people he disagreed with.

They absolutely have missed the point.

I mean, “Everything Everywhere All at Once” you can tell is heavily influenced by TikTok. It’s not my cuppa and I’ve never made any indication to the contrary, but it obviously works theatrically for some people.

I honestly don’t even care if they recast but the idea that you can’t recast in a world where we’ve had more than 5 cinematic Batman’s, 3 cinematic Superman’s, 3 Reed Richard’s, 3 Incredible Hulk’s, 4 Joker’s, 3 Spider Men, and where we all pretty much know Iron Man and Captain America will get recast at some point…

This is always a case of whose Ox is being gored. It’s absolutely fair to say an unfaithful adaptation can be superior. But it’s also fair to say that when something is made, “who is this made for” and “is this a rational decision?” GOT is an excellent example of making a show FOR the readers of the books, at least…

Love Salma Hayak and I think this story is more tongue-in-cheek than the chat commentariat is taking it - but “Harvey Winestein came in to my trailer and suggested we just spoon for a bit.”

If you don’t take it the way Perry is saying it, as goofy coworkers figuring things out, you’re left with the creepy aspect.…

You’re absolutely not. I love that film for being a romantic comedy with a few more rough edges than the usual.

It’s mildly interesting to me that it felt like in 1990 it was impossible to tell a story about two straight men having a deep friendship with anything that wasn’t superficial because of the fear that sort of relationship would be deemed too gay by the public and here we are in 2022 and we’re in the exact same place…

This is where I’m at. There’s going to be a lot of emotional attachment coming from outside of the film making it into the film. So objective critique is going to be very...difficult.

While I can definitely appreciate the media pointing out Giger’s influence, I can’t help feeling I agree with the developer that people are overdoing it. It’s like if someone does a game with multicolored squares and everyone suddenly calls it Mondrain and mentions it excessively. It’s, after a fashion, reductive to…

Unappealing for you is a valid criticism. I have no problem with it or anyone else who said “this isn’t what I want from a Superman story.” My views with this are consistent with the other two franchises I mentioned.