I’m going to call Todd Phillips a bit of a dick for sending that to Kimmel. And I liked the movie. But if he wanted to teach Phoenix a lesson about snapping at the crew, the time to do that was during production.

An odd irony in the history of the term was that it was actually created by a lesbian trying to help out others in the situation she had previously found herself. But there was sort of an “evaporative cooling” effect in that people who experienced improvement tended to leave her forum.

He’s humanized, but not as an aspirational figure. Just a loser who goes completely rancid. I did think it odd that he continued to have all those supporters at the end, which did more to validate his claim about people being awful than any of the slights he suffered earlier.

I thought he was just physically abused, resulting in severe trauma to his head.

He was arguably one of the worst of the Enlightenment philosophers.

Booksmart got a very positive critical reception, but didn’t make that much money. Dave Chapelle’s “Sticks and Stones”, on the other hand, offended a lot of writers but was enormously popular with viewers. So Phillips is wrong that you can’t make an irreverent comedy these days due to “woke” people: you just have to…

I couldn’t understand how someone that astoundingly incompetent had managed to graduate from any school, pass any bar, or last any length of time in a high position at an apparently functional business.

He’s definitely made some enjoyable stuff, but I’m usually a relative detractor here when it comes to Fargo. He fundamentally doesn’t understand what the Coens were doing there with their “true story” and his attempt to cram in other Coen films causes things to make even less sense, because it’s not SUPPOSED to exist…

Preferably a la Billie Dawn mangling some ten-cent words.

He could appear simply to get dunked on.

Hey, he doesn’t hate all women. Just the sexy ones.

I think the subtitle of this started as a joke, but then it got a positive enough reception from people who thought DC had flailed at being serious that they decided to stick with it.

I’m rather ignorant of them, but I watched the old Batman animated series, and Harley didn’t look like this either.

Similar logic applies to beating people up vs killing, which has come up recently in terms of people who want to punch Nazis. Plus, as others have pointed out, people die sometimes as a result of getting beaten up.

The only thing he’s directed that I’ve seen is End of Watch, which was alright. I know he wrote Training Day though, which was quite good.

I think those became less profitable once advertisers started paying based on demographics rather than pure headcount.

I thought he only wrote one DCEU film, and that was heavily changed by Trailer Park after his initial cut.

To wit, here’s a conversation about a producer saying he’s canceling a long-running and immensely popular and profitable show, for no other reason than he personally doesn’t care for it, a situation that has happened exactly zero times in the history of Hollywood.

There’s that old saying that “A lie can go around the world before the truth has time to put its boots on”. There’s a problem with the incentives of the news media, where the emphasis is on being “new” and interesting rather than necessarily accurate/well-supported. If the consumers of the news responded by ceasing to…

I was worried about this one, so I’m glad to hear it turned out well. So perhaps people who’ve already won Oscars, like Scorsese and Cuaron, should feel free to make the occasional Netflix film, but indie upstarts should be more wary.