Started by Sleepless, September 06, 2013, 02:08:09 PM
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Quote from: jenkins<3 on September 30, 2015, 04:34:53 PMthis was literally a post about a hat and a man being cute
Quote from: jenkins<3 on September 30, 2015, 04:34:53 PMwhich turned into a conversation where obviously tv is better than movies
Quote from: Jeremy Blackman on July 17, 2016, 08:45:08 PMIt's now up to $432 million worldwide. And only $47 million of that is domestic.Thought Warcraft Tanked? Nope — It Changed Blockbusters ForeverOVER THE WEEKEND, Legendary Pictures' Warcraft opened in the United States with just over $24 million at the box office. For a summer blockbuster that cost an estimated $160 million to make, that's a flop any way you look at it; in fact, it made less in its opening weekend than recent summer flops Battleship, The Lone Ranger, even Fantastic Four.But in China, Warcraft isn't just doing better than it did in the U.S.—it's breaking records. In five days, the film raked in $156 million, beating out last year's Furious 7 to become the country's highest-grossing opening for a foreign-produced film. To put that in the context of last year's undisputed global hit: in China, Warcraft made more in five days than Star Wars Episode VII: The Force Awakens did in its entire theatrical run ($124 million).http://www.wired.com/2016/06/warcraft-and-the-future-of-blockbusters/
Quote(re: "Making a Murderer") Is that something that was data-driven - you saw that people were watching a lot of true crime, they were watching a lot of murder mysteries and you said: Hey, we know that our audience will like this, let's make this documentary, or, are you making more decisions now based on your gut, what seems like good creative, the meetings that you take?It's a little bit of both. I really look at it as informed hunches. So you have a hunch and you either use the data to confirm the hunch or dismiss the hunch, or the other way around, which is you start seeing patterns in the data...
Quote from: Brian Raftery on September 01, 2016, 03:37:02 AMBut hold the door: For once, it's not just television usurping film's glory. Who would have predicted, for example, that a Broadway musical that 99 percent of the population hasn't even been able to see (Hamilton) would cause such a worldwide stir, sir? Or that the summer's biggest franchise hit would play out not in movie theaters, but among the sidewalks and city parks, where the Pokémon Go faithful congregate like so many Squirtles? Or that a four-minute clip of a woman putting on a Chewbacca mask in a parking lot would be greeted with nearly as much hysteria as the trailer for a new Star Wars movie?
Quote from: Richard Brody on September 01, 2016, 03:39:00 AMThe principal quality of quality TV has proven to be its ability to generate discourse—not just on the part of critics and viewers but on the part of journalists. As particular series, and television over all, became the subjects of widespread public discussion—discussion in the literal sense, of writers and viewers responding to each other—that discussion became news. Suddenly, television was propelled from the arts page to the front page, and that trend was accelerated by the nature of the shows. Their emphasis on stories and characters involving iconic phenomena in cultural history and hot-button issues of contemporary sociology and politics grabbed—and still grabs—hold of journalists' nose for stories. Many series seem to exist only to present topics in ready-to-debate form; they are built to give rise to "think pieces," which have become the dominant, if easily parodied, critical mode.The experience that the watching and the critique of new serial television resemble above all is the college experience. Binge-watching is cramming, and the discussions that are sparked reproduce academic habits: What It Says About, What It Gets Right About, What It Gets Wrong About. There is a lot of aboutness but very little being; lots of puzzle-like assembling of information to pose particular kinds of questions (posing questions—sounds like a final exam), to explore particular issues (sounds like a term paper). For these reasons, television's actual competition isn't movies or museums or novels but nonfiction books, documentary films, journalism, radio discussions, and general online clicking. Serial television is designed to gratify the craving for facts to piece together and analyze. The medium seems created for the media buzz that's generated by the media people who are its natural audience, and to whom the shows owe their acclaim, their prestige, and their success.[...]Raftery displays the skewed results of this trend when he cites three recent movies that strike him as "culturally crucial": "Straight Outta Compton," a good movie; "Inside Out," a mediocre one; and "The Wolf of Wall Street," a great one. What makes them important, in his eyes, is that "they spurred uncomfortable but essential conversations." Here, he's practicing the echo-chamber mode of criticism: the movies are crucial because they spark "conversations," they spark conversations because they address issues that are deemed crucial. He considers these movies—unlike those he's seen this year—to be important, and his criterion for their importance is that they're politically relevant, not that they're of aesthetic value. Politics are what concern everyone, which is why "everyone" (i.e., those who create the "online chatter" and the "countless essays and arguments" by which Raftery measures importance) talks about politics. Art, by contrast, is what concerns one person, intimately.
Quote from: Jeremy Blackman on July 31, 2016, 10:48:10 PMThe character contributes nothing to the story, except to cause perpetual delays.And that's what I really struggled with. Throughout most of the middle episodes, especially 4 through 7, the writers find every possible way to halt the plot or even move it backwards. It is absolutely maddening at times.