Ugh, yeah—that shit was insufferable. It was an excellent portrait of entitlement, though.

“Cold Case” was terrific. Lord knows how it got past Moonves.

Hee. You missed the part where he posited his romanticism had its template in Byronism. Or something. 😈

Whoa—had no idea the Babylon Berlin book series had hit TV. Thanks! https://www.amazon.com/Babylon-Berlin-Book-Gereon-Mystery/dp/1250187044

Shoot, the more a woman or non-white accomplishes on racist/sexist white men’s terms, the more those men hate them. It is never about merit or equality, or any of the crap these guys use as an excuse for shutting others out of power. It is  _all_ about their inadequacy.

Given that it is a lesser rip of LIVING SINGLE, that’s rightly so. 

Eheheh. RB works because it is a pointed satire of everything Hughes’ movies subtly worship. It got at the underbelly of all those perfect suburbias with their perfect white high-achieving kids headed straight for lives just like their ghastly-perfect Babbitt-crossed-with-Gordon-Gekko parents. In its world, everything…

WS is when the paint really started to come off the Hughes bandwagon. There was no charming performances or nifty dialogue to cover how skeevy and bro-relentless the premise was.

The mother-son stuff in BTTF is problematic as hell, anyway. No amount of terrific acting and smart plotting really makes that palatable.

I saw a ton of movies during the 80s—I was in the industry at the time and fresh out of an HBCU. Hughes’—and many of the era’s teen flick juggernauts—stood out because they were so relentlessly white-bread, entitled, and exclusionary. (Seriously, how do you make Chicago look like no black people exist anywhere at all?…

What is Trump’s angle here, anyway? Is whatever money he and his greedheads make worth incurring the 1%’s ire?

And Carrie White is nowhere in sight, dammit.

Heh. As Kevin Bacon’s sleazy character so aptly noted in WHERE THE TRUTH LIES, “Having to be a nice guy is the toughest job in the world when you’re not.” In this wench’s case, having to be human is really beyond her ken.

It’s never really about profits. Just like Hollywood’s insistence that non-white/female movies don’t make money at base is not about cash flow. It’s about the power to control—lives, futures, what people dream...everything.

Exactly. The 1% and their management minions no longer want the work of keeping companies running—or coming up with new ideas/products. Why should they, when they can make fifty times as much pumping-and-dumping and never be held accountable for the wreckage they cause? What they will do when business shrinks down to…

It’s not enough to win; “opponents” must be utterly annihilated/constantly reminded who won.

Heh. My mom’s doctor has it in his office. I hadn’t read it in years until today—and boy, has it shrunk. There must have been ten-fifteen articles in there, tops.

Her. Just like a Chicago Typewriter is hardly a typewriter.

Seriously. Ferris Bueller was the horrible smug entitled-bro epitome of what made 80s movies such a chore to sit through.

Didn’t like this adaptation (too many creepy visuals for the sake of creepy visuals), but Rourke’s performance is one of his best. Truly shattering.