The diner scene in Mulholland Drive because I was absolutely not expecting that.

I listened to two episodes about 6 ago; didn’t enjoy either but I wouldn’t describe it as “leftist” in any sense — they do cultural commentary with lazy/boring hot takes and occasionally make a decent point which they immediately negate with unnecessary meanness.

Every person I’ve met canvassing who’s younger than like... 45?... has mentioned Chapo at some point.

The fact that he doesn’t is why people find him charming!

I think that’s really the key part of her appeal — she has so little in the way of a public-facing personality that people project anything and everything onto her.

Or live-action Ratatouille with humans and a photorealistic rat.

Yeah I think most of his “screen presence” is just him being physically larger than everyone else on screen.

TBH I think this was a jokey answer that is consistent with what I think is his real reason for turning it down... (also this is the most I’ve thought about Will Smith in like 20 years!)

I don’t think that’s why he turned down Django. He’s always picked his roles pretty carefully when it comes to representation, and having rewatched it somewhat recently, I can totally see why he couldn’t do it — I think it was more about the character’s agency than sharing screen time (esp. since he seems to love…

Will Smith is an interesting comparison because unlike The Rock, he does actually get endlessly ridiculed for taking risks — so maybe that’s where he learned that it’s not worth it.

Pet theory: he’s a bad actor, he knows he’s bad, and he only wants to work with people who he knows won’t make him feel bad about it.

I like Keanu as much as the next gal, but this is getting creepy.

I don’t know, the show was pretty cruel to Paris about it a few seasons earlier...

I haven’t listened to the album (it doesn’t sound like something I’d like), but didn’t Breihan get into some sort of a personal feud w/ Jack White like...a decade ago if not longer? I always remember thinking that dude shouldn’t be reviewing his albums.

Dowd is describing a more interesting movie than the one I watched...

Gigli is pretty bad. Gobble gobble!

Fair enough; it was distracting enough to me that I couldn’t suspend disbelief. I think Manchester is fine, but I don’t really see a point of comparison between the two because it’s a much more realized, self-contained story.

Also, I think might be talking about different things when it comes to thoughtfulness — I don’t mean it as “movie must have a message”; I mean it as “thought went into the choices that were made while making this movie” — as applied to screenwriting, it means that I’m looking for the characters’ existence and actions…

In every movie with a large enough cast, you’ll have characters that are props: those would be the extras. For a movie to actually build a successful/believable world, to me at least, the secondary characters (aka those with named, speaking roles — not “barista”, etc.) need have to have some semblance of an inner…

It wants the credit for dealing with “difficult subjects”, but is actually just a hollow spectacle so...yes.