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Friends In Your Head | Forums → Posts by Ewing
I agree with everything Doctor Submarine just said.
Ewing wrote:That was going so well for 40 minutes and then they fucking blew it. The showrunners just hate Stannis don't they?
The lack of the Mannis was enormously disappointing. Despite being probably the most well-made episode of the show to date, I really feel like they dropped the ball here.
Total agreement. I know they can still have the moment with Stannis in the next episode, and it would still technically follow the battle's chronology (it takes place over a day and a half, I believe), but they already changed so many logistics in the battle, it doesn't make any fucking sense for Stannis not to ride in like a badass at the end of the episode and save the day. Doing it next week pretty much kills the momentum and impact it would have if it had happened tonight.
That was going so well for 40 minutes and then they fucking blew it. The showrunners just hate Stannis don't they?
Interesting enough, the film was originally called the comic book title All You Need Is Kill then they switched it to We Mortals Are and then they decided on Edge of Tomorrow. Out of all three, Edge of Tomorrow is probably the most marketable, the other two sound like bad translations in a video game.
I was uninterested in seeing it after I read the script last year but with all the good things I'm hearing, I'll check it out sometime in the next week or two.
If Davos can bring him back from Skagos, maybe he will end up being the one to take back the realm of Winterfell? I'd like to think he'll end up with having something real to do with the story, but then again if everyone GRRM has created needs a character arc the last two books will be thousands of pages long.
Fair enough but Rickon has been there from like the first chapter and he's a Stark. It doesn't make sense to create that character unless you're gonna him for something. His existence has been utterly purposeless.
Ewing wrote:What does everyone think Rickon's purpose will be in the end game? There's been no reason at all for his existence so far. It has to amount to something... right?
Rickon is CLEARLY Azor Ahai reborn. If you'll just read my fifty-page dissertation...
It fits.
What does everyone think Rickon's purpose will be in the end game? There's been no reason at all for his existence so far. It has to amount to something... right?
I don't think that's where Dany's arc is headed. I think she'll be consumed by madness and Barristan will be forced to kill her.
I hope that's what happens. I also think at some point Bran is going to warg into one of the dragons.
My favorite tinfoil theory is that the High Septon is Howland Reed.
Cleganebowl is the one true theory.
- The Hound collapses because Biter's bite is severely infected. I'm going to go out on a limb and say that Arya will give him the gift of mercy. The showrunners teased that characters will die in the show who don't in the books, and since The Hound isn't likely to factor into the endgame of the series, I think this moment works
Kill the heathen.
Forget him, he's a cunt.
I would probably pitch exactly what we got. I don't think it needs fixing.
This.
A Feminist plea to NOT have women in the new Star Wars films.
http://skepchick.org/2014/04/one-woman- … epchick%29
"The prequels also had one major female character. I think. I can’t be sure, because I fell asleep in the middle of every one. They were some of the worst movies that have ever been made. Ever. Dull, boring, insulting, grating — I wish there had been no women in those movies. When future generations look back at this ridiculous time when Hollywood insisted on churning out film after film told from the perspective of straight young white men, I want them to look at Attack of the Clones and say “Women had nothing to do with that.”"
I like how she thinks Attack of the Clones was told from the perspective of a straight young white man and not an old fart who lost touch with humanity.
Uh...is it just me or did the show just destroy Jaime's character?
No, it's not just you. I'm becoming increasingly disillusioned with D&D's handling of any sort of morally grey or ambiguous characters like Jaime or Stannis. They seem hellbent on making Daenerys the only "good" character on the show and that annoys the shit out of me.
I would have liked a bit more insight into Errol but overall I really enjoyed the finale. A- or B+, I'll elaborate more later.
It's not that it isn't a high art masterpiece, it's that the action sequences are constructed like shit. I am all for giant robots destroying one another, but if I can't tell what the fuck is going on because of incomprehensible editing and shakycam, I'm not going to enjoy it.
An even newer trailer just got leaked.
I, for one, am tired of darker more realistic takes.
It's a giant fucking monster created as a byproduct of mankind's destructive nature. How is it not inherently dark?
Of course, we know that Godzilla fights other monsters in this movie, so audiences (myself included) might still hate it.
I highly doubt we see any over-exaggerated classic Godzilla monster fights. Gareth Edwards seems committed to making this a very dark and terrifying movie. I suspect the monsters fights we see will be more reminiscent of the T-Rex versus the Raptors at the end of Jurassic Park or Kong versus the T-Rexes from the Jackson remake. Speaking of which, hopefully any human versus monster stuff is similar to the pit scene.
Re, your first paragraph, and "laziest way."
Lemme ask you this. (I'm not disagreeing - I don't even know if I disagree right now - I just want to hear you work it out.) Imagine if the singular "they" in your paragraph - the "they" who write a piece espousing the apparent relationship between a given piece of media and the culture at the time - imagine that this "they" is not contemporary. Perhaps this "they" is a hundred years in the future.
That's not the "they" I'm talking about. I understand the idea that every work is a product of its time. The "they" I'm talking about are the ones who inject their own ideology into everything, with total disregard if it's even relevant. They're not looking at it from "society does this, the show is reflecting/critiquing that"; they're looking at it from "I have these ideas about society, why doesn't this show?", that's the lazy criticism I'm referencing. Hypothetically, and this is a strawman but it perhaps better illustrates my point, could you imagine a scenario where someone ripped apart Breaking Bad because it didn't cater towards their identity or beliefs like this?
"Why weren't there any characters with a fursona? This show is oppressive, disparaging, and most of all, shit."
It doesn't get any lazier than that. All you're doing is bitching that a piece of fiction wasn't written with your values in mind. It means nothing in regards to the actual quality.
Marty and Rust are two dudes telling a dude story. Again Ewing, I meet your point and largely agree with it, but with a huge asterisk. *
* In order to help sympathize with these "ideologically selfish" readings of the show, please remember that nearly all of the film and TV media you interact with is stories of men as told by men. And being a smart, cognizant female subjected to that for an entire lifetime may result in a different set of priorities, demands, and representative expectation than your own.
Fair enough, but I would expect any smart, cognizant female to understand that doesn't mean stories of men as told by men are inherently bad. I would also expect them to realize that a show written by men about men many not necessarily follow their priorities, demands and representative expectations. Most importantly, I currently expect any alleged journalist or critic to articulate their problems with any given media without using words like "phil-bro-sophical".
I mostly agree with your point, but you're tilting a little /mensrights. "BETER WIMIN CHARKTIRS" is an easy critique of, well, almost anything, and in a given case the eloquence and validity of that sentiment will vary from sad-accurate to eye-roll-click-bait.
I'll argue that, until last night, the agency of any of the show's female characters was handled only in the periphery. Like, consider a narrative-influence-Bechdel-Test. Marty's paramour will date, the proprietor of the bunny ranch will drop some agency knowledge, Audrey will sleep around. These actions color the story, but don't drop stage center and function par-level with the decisions of our "heroes" until Maggie acts in face of Marty's bullshit apparent.
I understand criticizing a film or show through structural analysis, aesthetic criticism, genre criticism, auteur theory, and so on, because those have to do with the actual filmmaking and storytelling. I may not agree with it, but at least there is a degree of objectivity and it's trying to better understand how films and shows work. I can't take social criticism of media seriously. All of it boils down to the author projecting their own political and social ideologies onto the work. There is no objectivity or true criticism of the piece, it's just a soapbox for the critic to explain why something sucks because it doesn't cater to their desires and values. It's film criticism for people who don't understand the nuances of filmmaking or storytelling. It is the absolute laziest way to critique any work.
As for your argument, how are those female characters any different from the male characters on the show besides Marty or Rust? I agree that the women in the show don't have the same depth as the leads, but neither does anyone else for that matter. There is no one on the show as fleshed out as Marty and Rust. They are the focus of the show, and their witnessing and retelling of the events of the investigation is what drives the show. That's something those articles doesn't really understand, and that misunderstanding leads them to the obviously wrong interpretation of the show's intention.
This is one of the most masterfully executed shows or films I've ever seen. Everything has a purpose, every shot matters, every piece of writing means something to the rest of it; it is arguably the most elegant and intricate tapestry I've seen in a piece of a fiction. Perhaps the minimization of women in the show enhances the story its trying to tell. Shoehorning in more women characters could very easily fuck up the thematic goals and effectiveness of the show. The thought never occurred to those authors that maybe the show doesn't need strong female characters to effectively tell its story or explore its themes to the fullest.
I got linked to a couple of articles today. I was not pleased. I know it's against the grain of the political leanings of the board, but I don't really give a shit, I gotta stand on my soapbox for a minute. Here are the articles:
It's time to talk about "True Detective" and the female body. Or rather, bodies, loads of them, left naked and chained, stacked high in the morgue, murdered, traumatized or simply stripped bare for the audience's (and the president's) titillation. Early on, Vulture's Margaret Lyons noted how many more dead women than live ones the show made room for, but for me the breaking point was last night's episode, "Haunted Houses," where Woody Harrelson's Martin Hart was once again mounted, cowboy style, by a nubile young woman whose naked breasts dangled pendulously over his all but unseen body. It's followed later in the episode by a scene in which the young woman, a former child prostitute whom Hart once tried to rescue from her life of sin, calls him up and tells him she'd like Hart to introduce her to the world of what Sinead O'Connor once called "the difficult brown." Hart licks his lips when he hears this, and who wouldn't? You can bet that nagging wife of his is an exit-only gal, and for a man as preoccupied with female purity as Hart, the idea of breaking in an orifice that a onetime whore has never had defiled must be something close to heaven. (On Twitter, BuzzFeed's Kate Aurthur raised the possibility this may be a line she's used before, or else she's drawing a line between her former professional duties and her private life. But the way it's staged, with her looking coyly over her shoulder at her own ass in a full-length mirror, plays right into Hart's fantasy, and the audience's.)
Scenes like this make it awfully hard to accept "True Detective" as the sobersided philosophical inquiry it presents itself as: Phil-bro-sophical is more like it. Sure, there are the windy monologues delivered by Matthew McConaughey's Rust Cohle about fourth-dimensional perspectives and the recurring nature of evil, but don't worry: It's also got tits.
Source: http://blogs.indiewire.com/criticwire/t … uses-women
Like many critics, I was initially charmed by the show's anthology structure (eight episodes and out; next season a fresh story) and its witty chronology, which chops and dices a serial-killer investigation, using two time lines.... On the other hand, you might take a close look at the show's opening credits, which suggest a simpler tale: one about heroic male outlines and closeups of female asses. The more episodes that go by, the more I'm starting to suspect that those asses tell the real story.
This aspect of "True Detective" (which is written by Nic Pizzolatto and directed by Cary Fukunaga) will be gratingly familiar to anyone who has ever watched a new cable drama get acclaimed as "a dark masterpiece"... After years of watching "Boardwalk Empire," "Ray Donovan," "House of Lies," and so on, I've turned prickly, and tired of trying to be, in the novelist Gillian Flynn's useful phrase, the Cool Girl: a good sport when something smells like macho nonsense. And, frankly, "True Detective" reeks of the stuff. The series, for all its good looks and its movie-star charisma, isn't just using dorm-room deep talk as a come-on: it has fallen for its own sales pitch.
Source: http://www.newyorker.com/arts/critics/t … n_nussbaum
Complaining about the lack of positive women on the show, while ignoring that every man on the show is a piece of trash, and complaining about the lack of focus on women, while ignoring the purposefully male centric nature of the show, is so ideologically selfish I can't even begin to comprehend it. This would be like me complaining about the lack of positive men and male focus in Sex and The City. This show paints a negative portrait of everyone in society and is very much a dissection of masculinity and old American values. "Critiques" like this are missing the point so much that they might as well be writing about an entirely different series. The fact that trash like this is considered criticism, rather the delusional ramblings of a self-centered and self-righteous lunatic, is an insult to the work film critics and theorists dedicated their lives to refining over the past century.
"Phil-bro-sophical"? How can any self-respecting publication allow utter nonsense like that to remain unedited before posting? There's a reason the reputation for journalism gets worse every single year. This is not journalism, this is a disgrace.
Please tell me you're posting from a cellphone.
Dave Bautista said he wanted the role badly, went to extra acting classes, read through a ton of source material and lobbied hard for it. When he got the role, he said he dropped to his knees and wept.
Good, he needed them.
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