What’s funny/sad is that he wrote about being a bad boss in 2015 (to some credit he was trying to change)--but it was still allowed to run toxicly till now. I’d read a mention of it now and again, but foodie, like most consumers of things, don’t care overall.

If one can be trained to just occupy the assholes--that’d be pretty great.

In entertainment though, the foot in the door is most of the challenge. Even ending up with “just” a B movie career is being one of the most successful people in some of those fields.

I can’t help but comment whenever the movie comes up...Brick is Vampire the Masquerade larping. All the little cliques are the clans and I remain convinced it’s not a coincidence.

Eh, in their favor, it wasn’t a good joke.

He shot 3 movies in that time—he’s literally talking about what you think is a gotcha here. The problem would be more apparent between movies like it is between seasons of a tv show.

No, the last final was France vs Croatia, and also that’s 4 years ago. Though that makes Croatia a less of a surprise though older and tireder—they had a tough route this time like last time.

Sigh...entirely too plausible.

Citizen Sleeper is Guillaume Singelin, and Rollerdrome is Tomer Hanuka. They’re just the two who I happen to follow as artists, so happen to recognize their style.

The Wrestler is the key to understanding how Aronofsky transforms a story to his movies, no? Another triumph of an out actor who pulls on his own experience to inhabit the role. For the purposes of this discussion though, it’s more noteworthy in comparison the Jake the Snake Roberts in Beyond the Mat. The Wrestler to…

Yeah. I enjoyed for Bastion. I admit I find it enjoyable in diminishing returns since then.

So I (whispers) haven’t played Hades...Yeah, Pyre is different but I get it. I think gameplay wise they iterate around a core play style, and non-gameplay wise, they work around wistful, to me slightly twee sentimentality, and very similar sounding soundtracks.

I was well saturated with the open world game experience when it came out and just didn’t look at it—I took the consensus to be “it’s fine.” So every time it’s gone on sale, and now that I’ve dried out from playing those games for a while, I wonder if I’m gonna bite, cause a good game when you’re in the mood for it…

The director’s tally seems to put Dielman at no.4—that pick is hardly lacking in consensus. Chantal Ackerman’s had a rise in esteem since her death, sure, but tastes change.

Does it still have alignment? I know it’s beloved, but where race always converted pretty easily to a conception of species, morality being rigidly described (with detection and abilities and so on) is kind of wild. Though I admit to not being up to date.

Farscape is actually really consistently morally scrupulous, no? Despite the heists and guns, for the most part Crichton especially resists violence. and with some characters espousing outright pacifism. Even the finale was a bid for deescalation.

“Clockwise from bottom left”? That’s just an odd order to choose to credit things.

I’m not sure it’s about money here, speaking as not-a-fan of tarantino. There’s no dvd sales to make residuals for anyone anymore, and streaming doesn’t make residual money either. It’s all upfront now. Tarantino (or Scorcese) can make money that way, since the outfits would pay them for prestige, but actual cashflow…

It doesn’t sound like they want the character to look like Scott Porter for recognizability, but that the character design uses more than the actor’s voice but face and motion to animate, and the work of syncing voice with action--whether from another actor or made from scratch is harder than just getting the work…

Sheridan’s work does have a diversity of topics seeded in most of it, it’s just that it’s buried underneath soapy violence (not unlike Sons of Anarchy) and the glamour of the badasses overwhelms everything else. If there’s any critique or subversion its lost under it’s basically manifest destiny sympathies.