Media absolutely influences the way people think - there’s a whole academic field dedicated to studying this. If you don’t believe any of the numerous studies and analyses on the “consequences of hate speech” that are literally available at your finger tips, just look at the world of advertising. Companies spend…

I remember visiting the rural part of my home state back in the late ‘90s. While listening to what to that point had seemed a relatively innocuous classic rock station, I heard the station ID: “You’re listening to W-blah-blah-blah, your all-rock station. No rap, no reggae.” Weren’t even trying to hide it.

People have been complaining about it for ages - it’s much louder now because Netflix spent 1/2 the money on earth to acquire the show and promote it widely, but then they put it out in the same shitty version that people have already been complaining about.

S1-3 were filmed in 4:3, but from season 4 it was filmed in 16:9 (by studio mandate, anticipating digital, widescreen, etc. were coming). TPTB at Buffy (mainly Whedon), still shot it for 4:3, though, because that’s how it was originally broadcast (with the exception of Once More with Feeling) - that’s why the area…

Royal Tenenbaums is a pretty great film - really well written, wonderful performances, and there’s a depth to it that I think gets overshadowed sometimes by a focus on Anderson’s “style.” But, no , it’s not my favourite, for sure. I’m glad to see so much love in this thread for Moonrise Kingdom, which I think is his…

“I think what it’s supposed to mean is that she was encouraged to treat other female acts as her direct competition in a Highlander-like “there can only be one” way.”

There’s a funny, bitchy anecdote in Julia Philllips’s memoir where she talks about how much she loves Goldie Hawn, but how she always stank. 

The original home of Party Down!

“The choice to make only non-human characters canonically queer carries on the tradition of using mysticism as code for queerness; on Buffy, characters are allowed to be both supernatural and queer.”

I’ve never seen this - and I used to love Chase’s late ‘70s/’80s flicks.

“Lay it Down” was also pretty cool, and a pretty successful radio hit:

He’s also great in a small role in The Thief Who Came to Dinner, an underseen ‘73 film with Ryan O’Neal, Jacqueline Bisset, and Warren Oates. It’s a sexy little caper flick - not mindblowing or anything - but a lot of breezy fun.

Also, I’m not sure what Katie’s talking about - “Soul Sucker” is awesome!

Here are the songs I’d add, to make it a double album (or a 1 1/2?):

Pilots on planes flying from Europe to NY or Boston, still have an odd habit of informing passengers that we’re flying over Bangor (as a native of the town, it always makes me happy).

Pour one out for the Motherfuckin’ Shore Patrol - when The Last Detail came out all the way back in ‘73, it had by far the highest number of “fucks” of any American movie (around 80), now it doesn’t even make the list (Columbia infamously tried to get Ashby and Towne to cut the number of “fucks” from 80 to 40, to give…

Agreed on both points! And yeah, that FwD cast is not only amazing but they all bring their A-game (not to mention Richard ‘you can’t catch the wind’ Jenkins!).

Aw, damn, I love this guy. In the ‘70s he was so game for working in off-beat, or whacky films - many of which don’t get much love these days because they don’t fit the “gritty, director-driven” mythos that’s developed around the era. But films like Who is Killing the Great Chefs of Europe? are tons of fun.

A few I can think of:

True, for sure, but part of what made her so great was how much empathy her overall arc inspired. She was such a fantastic sleeper character with so much going on before her turn, that, even if you saw it coming, once it came there was so much depth to her. Anyway, my fave of the MCtvU for sure.