Yeah, this is pretty much exactly right, I guess. It’s hard to find the right balance between the love of sharing knowledge and the intrinsic reward the ego provides.  For the record, eastern wisdom traditions are good at tackling conundrums like that.

There’s also the fallacy that the right to say something gives whatever you say value.

Seen in the replies on Twitter:

This really is the true end point of a media environment in which “objective” means not “some things are empirically true and some things are empirically false” but instead “not taking sides with anyone.” The latter is ok if the argument is about something completely subjective, but the former is how you end up with a…

I think it’s a shame that a part of another culture has been appropriated for a racist agenda.

It lacks the appropriate amount of Olivia Hussey

“Before long, Riley and the other girls are harassed with creepy text messages—a natural technological update on the original’s prank phone calls, but one that packs none of the perverse punch. Films like Personal Shopper and Unfriended demonstrate that presumably impersonal modes of communication can be wielded to…

This sounds like a movie that could or could not succeed on its own, the tie to the original film (which is fantastic) is odd. Outside of the sorority connection, hardly something that’s unique, why bother? Going off the review, there’s about 500 percent more plot here than in the original, and part of what makes the…

The first one was arguably the OG slasher movie that also managed to deal with current political issues.

I read comments from dumb people from people calling Sony an upstart studio when all this went down. Yup, that’s our Sony, just trying to put together a show out in their Dad’s barn.

Look, I’m not a fan of how Disney has become this much of a monopoly (and have my own longstanding qualms with the company), but it’s not like fucking Sony needs our help either. Just because one absurdly massive multinational multimedia conglomerate doesn’t deserve our sympathy doesn’t mean another does in its place.

So because superhero movies make a fuckton of money, they can’t just approve other movies after the success of one, it has to be all at once? But because they weren’t certain of the success, they couldn’t approve of multiple related films?

The actual text that Hughes wrote is “And while Phillips has now been mostly vindicated”, which leaves plenty of room for the sophisticated, intellectual film critics at the AV Club to say that Todd Phillips is an asshole, Joker is derivative, and anyway comic book movies are for little kids.

“And while Philips has been most vindicated”

Am I missing something? Why does it have to be announced prior to the release of Joker? Why can’t they be like “hey, that’s an interesting idea, let us see if the Joker is a success and then if it is we will develop more movies in a similar vein and then perhaps connect them?”

Don’t forget all the footage from Jodorowsky’s “Dune”.

Those eight and a half minutes of the missing Nixon tapes will make so much sense now. Release the cut!

Erich von Stroheim. Orson Wells. Zach Snyder. Cinema’s Holy Trinity.  

The post-credits scene is The Day the Clown Cried.

Not only does it exist, it contains missing footage from Greed, The Magnificent Ambersons, and two Hartnell-era Doctor Who serials.