Sounds like your friends are the ones who should be having nightmares about a “social credit” system.

I agree about the mischaracterization, although I would say that most people interested enough in Henson to watch the doc already knew about the family tension. It’s not like that has ever been a secret.

Any time I hear that a filmmaker has gotten “unprecedented access” or that the film is “authorized” I know it won’t be insightful or offer anything compelling. Because it’s just brand building, and won’t engage in anything probative, beyond that the subject was a genius who was ahead of their time.

It doesn’t even seem like a trend; fluff documentaries have been around since...documentaries. Behind the Music was rarely revelatory so much as a quick-bite collection of known facts signed off upon by the (surviving) band members.

I’m looking forward to seeing the Henson documentary, but for Henson fans, the multi-part deep dive into Henson’s entire career that Defunctland did a few years ago is absolutely extraordinary and a must-watch.

This is pretty much the trend, right? Not just on pure documentaries or direct to streaming. Things like Bohemian Rhapsody and Rocketman suffered from the same problems. The people who are still alive get involved and make sure they aren’t serious looks at somebody’s life, but hagiographies or puff pieces.

There are plenty of documentaries, and one fine semi-autobiographical film, that detail the darker side of the Beach Boys and Brian Wilson’s story.

Unless they are at death’s door, never believe a musician when they say they’re retiring, that this is their last tour. It never sicks.

But without the animal cruelty involved in that, would the myth of lemmings committing mindless suicide have entered the mainstream? And without that happening, would the video game Lemmings exist?

Why take an Oscar-worthy subject, get an unprecedented level of access, and pump out a perfectly fine but not particularly revelatory nostalgia piece?

I mean, yeah, “brand experience”, sure, but their lane has always been high-fructose corn syrup children’s entertainment aimed squarely at WASP middle America.

Some of the standouts include Sterling’s steadfast lackey Andy Roeser (Billions’ Kelly AuCoin),

A previously false statement is now corrected, so yes of course it’s better. 

*cough* pugh would have been a better furiosa too *cough*

“NONE of the Mad Max films have.”

Between Furiosa and The Fall Guy getting rave reviews yet disappointing in the box office it may be time to admit that the movies themselves are not the problem. It’s the theater experience, which a LOT of people complain about between the cost and inconvenience. There’s a lot of talk about how these movies failed but…

Does she at least get to have fun?

You joke (or at least someone on Xwitter jokes) but I have no doubt that some studio executive pitched something like that at some point.

Yeah I mean who besides internet film nerds even recognizes Furiosa’s name? Film Twitter enthusiasm ≠ normie moviegoer enthusiasm.

Furiosa is great: Another deeply enjoyable expression of director George Miller’s central cinematic thesis that sometimes you just need to make a movie about fucked-up people in fucked-up cars doing awesome, fucked-up shit. We don’t understand the people who refuse to go see it