His desperate whiny nebbishness throughout that film is honestly Oscar worthy:
“*manhandling doctor* Where did you put my wife?!”
“Sh-she’s dead, sir, they took here to the morgue!”
“The MORGUE?!?! ...She’ll be FURIOUS!”
His desperate whiny nebbishness throughout that film is honestly Oscar worthy:
“*manhandling doctor* Where did you put my wife?!”
“Sh-she’s dead, sir, they took here to the morgue!”
“The MORGUE?!?! ...She’ll be FURIOUS!”
You guys have cars?
It’s the same rube-ass nonsense that makes people vote for a billionaire that lives on the top of a literally gold-plated apartment building in the middle of Manhattan because he told them that his opponent was a New York elitist.
I actually don’t think so, barring some standout scenes with deLancie that you can catch on Youtube.
They DID put the Mother 1 translation on there. We’ll see?
Ok. Let’s be real clear here.
Justin Roiland fucked this up. Not anyone who hates his shit enough to not watch a TV show he was on, anymore than people can’t watch, say, Braveheart anymore because of Mel Gibson.
Justin Roiland fucked this up. If anyone loses jobs, it’s because of him. Not because of people who can…
Me too. I don’t want it to suck. But a better ad would have helped me feel less dread about that prospect.
It’s also shot REALLY flat. It’s just so “TV”. At their best, many of Brooks’ best works were broadly cinematic in scope, aping the technical triumphs of the films he was parodying. Starting with Men in Tights, everything he did from then on looked like they were done on sub-USA Network budgets, and not as a joke.
And…
Everything I know I learned at the foot of the dread god Adele D’zeem.
Don’ You Go Rounin Roun to Re Ro, Pard Toe: Warsell Innit
Sure. But more people would be fine with it if these executives could just come out and say that. We all know shit happens (in this case, a $50 billion dollar debt albatross). Acting like we’re dumb enough to believe that it’s about protecting the artists involved? That’s when people’s hackles get raised.
Not many…
Ok, Scorsese. Let’s say I stipulate all that. Then your problem is with Safran, the guy whose full quote you wanted in the piece. Because he’s the one pretending this decision was about quality of art and respect for artists instead of economics, not me. He’s the one saying he’s trying not to “hurt” the reputations of…
Rare but possible. You just have to be a Falcons fan.
Which is partly why The Californians one of the better sketches on SNL. The specificity of LA natives inserting their preferred travel routes into every bit of the soap opera of their lives was pretty spot on.
It’s extra fun because Atlanta’s actual layout is an utter farcical nightmare of “This used to be a goat path, might as well try and cram four lanes on top of it” lunacy, and seeing them navigate it accurately deserves respect, not least because most Atlantans can’t/won’t navigate it accurately themselves.
Fuller context: Twitter laid off four-fifths of its workforce because Musk doesn’t know what he’s doing, then re-hired two of those fifths when even he couldn’t bullshit his way around how catastrophically moronic that choice was.
Cost-cutting is reasonable. But lying about cost-cutting and the efficacy of your…
I’ll definitely agree that it’s a Rorschach test. But I think I’m more well-founded in my distrust of a WBDiscovery executive than others’ seeming trust.
For my supports, see: capitalism, history of.
I do. I recognize the films he’s made. He’s become big mostly because of disposable copy-paste comedies and horrors like the Seltzer-Friedberg “oeuvre” and the Conjuring movies and their imitators, and recently produced some of the better DC films. But at the end of the day, he’s an executive producer at a major…
I actually don’t care about the film particularly. I just understand better why people come out of the woodwork to be sad when art, even crappy art, is essentially destroyed, than when people come out of the woodwork to attack the critics of corporations as somehow being more disingenuous than the corporation.
Your…
The full quote asks us to believe that a c-suite member of a modern American corporation cares so much about his creative collaborators that he didn’t release a project they worked on for years and only appeared to be a money loser at exactly the same time as a leadership regime change and a draconian debt reduction…