It’s going way beyond movies, and it’s getting really out of hand.

The software industry (see: Adobe, MS Word, etc) is already pushing hard to be a subscription model. AFAIK, video games have been doing that for a while. Next it’s going to be tangible things— anything “smart” is going to require subscriptions.

To be fair, they don’t really have any experience with their jobs working any other way, and I doubt any of them have thought about it further than thinking about how much they take home in cash.

Then they should join a union and get their wages raised.  Tipping is a ridiculous practice that can’t die fast enough.  (This coming from someone who regularly tips 20% as a baseline).

I don’t know. The truth is that even though all those things you list are demonstrably true and awful, part of me thinks we got off kind of lightly with Trump’s first term. He was largely reined in by saner minds throughout his presidency, all the way up to January 6th and (yes, I count him as “saner” than Trump) Mike…

Nah. The progressives that are going to show up already do. Pushing parties to further and further extremes doesn’t help the country at all. Despite what Twitter makes the world think, moderates are actually the largest voting block, and most people don’t care that much about issues on either side of the culture war.

While I’m sure the trend exists, isn’t there some selection bias to account for? In other words, aren’t there simply going to be more leadership replacements during time of crisis, which skews the data?  CEOs don’t generally get replaced when they company is doing well, they get changed when the stock price gets shaky.

“We made a lot* of people laugh**”

Catherine O’Hara in Home Alone should be on the list.  . Besides that one little thing, she’s a pretty dedicated mom, and she’s a saint for putting up with that enormous family.

The same thing that possesses all of us to comment about virtually anything, whether here or on social media or anywhere else? Someone like Stanley just happens to have a bigger microphone.

It actually doesn’t even make sense from a (smart) producer’s standpoint.

If there’s no copyright, that 41st edition gets put out by 100 different companies, and the creator gets nothing from at least 99 of them- nor do they get any say or control over how it looks, is presented- or maybe most importantly to a creator: whether or not it’s edited.

Keep in mind this website is now written by college kids.

5 hours for a minute of screentime... tracks. Old school network shows usually shoot 7-9 day episodes, which translates to 84-108 hours for 42 minutes of screentime or 2-2.5 hours a minute. For a streamer to shoot twice that long makes perfect sense to me.

I don’t mind copyright lasting about a lifetime’s worth. 75 years or so. People should be able to profit off their creations for the duration of their life, and it’s not a bad thing for their offspring to benefit either.

They have limited means to resist if the AMPTP isn’t actually violating a contract.

Yes and no. If there’s a script, a director had better film it exactly as written, at least for one take, if they plan on letting the actors mess with the lines. If not, they could very easily get in hot water with the writer and showrunner of the show. (To be fair, this is much more a thing in television than…

Short answer: it’s fuzzy.

Long answer: technically, a writer could probably bring a grievance if so much as a word is changed, but that’s vanishingly rare. It also varies by the culture of the show how leeway much the actors (and directors) are given to tweak things.  Some actors just change the lines no matter what,…

It’s less “mad they have their ducks in order” and more “ridiculing the idea that you can actually go into production on a major television show and not need to adjust plot lines, character beats, or dialogue whatsoever”.

In television, the head writer is generally called the showrunner, and they have pretty much ultimate veto power, at least within the hierarchy of the show itself. They have to answer to the network execs above them, but showrunners (usually) outrank everyone that is directly employed by the production itself.