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OT: Movies/TV Shows

JackBurton said:
Disney did fuck-up the Snow White film bad. They tried so hard to please everyone and it's blown-up in their face.
Ironically, they reacted to Peter Dinklage's criticism and it cost people jobs.
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I get your point is about jobs for little people….but this version with animated characters would create way more jobs than having 7 real actors in the role.
 
zeke said:
english.elpais.com

John McTiernan, director of ‘Die Hard’: ‘My movies were quite patriotic, but being in prison changed my attitude’

The filmmaker behind classics like ‘Predator’ and ‘The Hunt for Red October’ is working on his first film in more than 20 years, as well as a book about his experience in prison
english.elpais.com
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Making Predator, Die Hard and Hunt for Red October within 3 years of one another is incredible.
And 13th Warrior is great. It got screwed so bad.
 
blkngldbabe said:
I’m usually great at figuring out metaphors etc, but I feel like I’m fucking high when I watch severance. I haven watched the final episode yet but I am struggling with picking Up what they’re putting down for whatever reason
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Don’t overthink it

The show appears to be overly complicated but at its heart, is pretty straightforward
 
blkngldbabe said:
My mom passed of this at the end of February. Agreed it is fucking horrible. Confused and scared most of the time. I’m gutted she’s gone but grieved her loss a while back. That’s no way to exist. It’s not living, that’s for sure
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Condolences.

My wife has been diagnosed with early stage dementia at age 71.

This isn't going to be fun.
 
CH1 said:
No
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I don't know if this is serious or not, but in an interview with the creator of the show: https://www.rollingstone.com/tv-mov...creator-interview-season-2-finale-1235295173/

The episode where Harmony goes back to her hometown establishes that Lumon openly uses child labor. As you say, there’s a lot of discourse about the show. One of the things people speculate about all the time is, how much does the world actually know about what Lumon does, and how is Lumon able to get away with all of it? How do you figure out how much you want the audience to know, beyond what is specifically happening in and around that one office building?
It’s tricky. It’s easy to justify crazy things happening on the severed floor, because no information can get in or out. But as we were writing the show, we were researching different companies, and cults, and organizations that really do manage to get away with horrific or unethical things that oftentimes are hidden in plain sight, or surrounded by an unofficial code of silence, or there’s enough loyalty to the group that these things that you think would be impossible not to come out instead wind up in an insular space. It’s severing without severance, you know? We wanted to explore that, too. I think the town of Salt’s Neck is a place where there was probably massive loyalty and gratitude to the company, so there’s a sense of turning a blind eye to certain things. Sometimes, you can get away with child labor by calling it something else. These things are real. These aren’t things I feel like we have to exaggerate that much.



Harmony is in every scene of that episode, but she’s not in much of the season. Why did you decide to write Patricia out of the show for such a long stretch?
Because she seemed so much like Lumon incarnate in the first episode, I was really fascinated to see what it would be like to cast her out of that world and put her somewhere where she was uncomfortable and where she had to contend with this question of who might she have been had she not been raised in this company, and had her identity of Harmony Cobel not been so meticulously crafted by her place in the company. We didn’t necessarily in the beginning set out to make that a bottle episode. It was something that we came to over time. But ultimately, the show is so much about isolation, people are isolated in different places, it just felt right to tell that story in one go, and not have it interspersed in other stories. We wanted her to feel totally alone, and so placing her literally alone in her own episode felt right.

One of the interesting threads from the season is that Milchick is given these paintings that are meant to make him feel closer to the company, and instead it seems to be the first real chink in the armor he’s built around himself regarding his feelings about Lumon, because it reminds him he is a Black man in this white supremacist company. Later on, Drummond’s complaints about Milchick’s vocabulary are clearly tied to Drummond’s preconceived notions about race. Where did the idea for that come from? And how far do you feel you can go with it in the context of a show where so many other things are happening?
I had had a lot of conversations with Tramell [Tillman, who plays Milchick] and with others on the show. In Season One, we really didn’t acknowledge Milchick’s race or the specific experience he would have in a company like Lumon. But over time, that started to feel necessary, especially because there were so many parallels between Lumon and so many real-world companies where whiteness is such a presence and institution. The more I talked to people of color who had come up in an organization like that, and the really weird and specific types of racism — which were often dressed up as acceptance — it just became a part of the story that we felt we had to tell. I wanted to do it in a way that was still in the tone of the show, and felt like it was still within the weird humor of the show.
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Now he does say that it is also about isolation, but you know, meh.
 
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holy spoilers!

I think the show has carefully crafted a universe where the viewer can read many different themes into it

The show is about all the things you mentioned but IMO it’s also about outsourcing pain and slavery.
 
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