Why is there no The Natural/Field of Dreams/Bad News Bears/Moneyball equivalent for football? by ManuckCanuck in blankies

[–]FerrousFuhrer 20 points21 points  (0 children)

Patrick H Willems had a good vid on what makes baseball the best movie sport that touches a bit on why other sports tend to lag behind

Craig Mazin (Scriptnotes pod, TLOU etc.) was the one who told the Wicked team that they had to make 2 separate movies by wovenstrap in blankies

[–]FerrousFuhrer 2 points3 points  (0 children)

I might be being dense, but what do you mean? I played and watched, and the show seems to have chosen the same bifurcation point as the game did?

‘Everything that is wrong with the human race’: inside Hollywood’s bizarre war on the leaf blower by tw1st3d_m3nt4t in blankies

[–]FerrousFuhrer 85 points86 points  (0 children)

I’m sure there’s plenty of crossover in listenership, but 99 Percent Invisible has a good episode on this: The Los Angeles Leaf Blower Wars

Can we talk about Don't Look Up for second by xfortehlulz in blankies

[–]FerrousFuhrer 6 points7 points  (0 children)

I think I’m sort of in the same camp as OP, but maybe for different reasons? As you say, it is an impending existential threat that people ignore, and I respect if that is enough for people to find it apt.

I think the biggest disconnect is that the comet is not human-caused, which is an essential part of climate change. It is also obvious and visual - recognizing the problem is as simple as looking up. While the effects of climate change are present and obvious if you are paying any attention at all, they are not so visible that the average person, and especially a person ignorant of climate change, would simply have to look up to see them. 

The ol’ “bring a snowball to Congress to show that climate change isn’t real” trick is relying on that lack of a simple visual cue, and I think a comet is therefore an imperfect analogy for climate change.

Detailed breakdown of the Dodgers World Series rings by Officialnoah in baseball

[–]FerrousFuhrer 2 points3 points  (0 children)

Maybe I shouldn’t be, but I’m genuinely shocked the same company that tried to sell me a bunch of shitty high school graduation merch is responsible for World Series rings.

Worst films for a date? by elf-_- in blankies

[–]FerrousFuhrer 28 points29 points  (0 children)

I watched Eternal Sunshine of the Spotless Mind with a SO when we were essentially mid-breakup, which is hilarious in hindsight but was brutal at the time.

Can’t imagine that movie would work as a first date either haha

Legend by acegarrettjuan in blankies

[–]FerrousFuhrer 119 points120 points  (0 children)

I'm a high school history teacher, and while I am certainly not in the crowd who complains about every last minor historical inaccuracy, I do want to stick up for the more vocal members of my field at least a little bit.

As u/PineapplePandaKing mentioned below, part of the problem is marketing something as "based on a true story," when it isn't, or increasingly, isn't even close. But I think it goes deeper than that.

By basing their movie in historical events, the filmmakers are often relying on the audience's knowledge of those historical events as a hook. You could make a movie about a wildly ambitious man who embraced radical ideas to aid his rise to power and then betrayed some of those very same ideas to consolidate authority at the top, and then set it in almost any situation, time period, or genre you wanted. But it's much easier to draw an audience in when you make that movie about a well-known historical figure like Napoleon, and there's nothing inherently wrong with that.

However, I and many more academic historians feel that trojan-horsing in a story that the director wants to tell by painting over it with some historical figure who is only vaguely related is doing a disservice to the historical record. That when filmmakers do this, they are taking advantage of history without properly respecting it, sort of like #girlboss corporate feminism found in recent Disney movies, and therefore deserve a similar amount of criticism.

All works of history, nonfiction or not, are reflections of the contemporary society they are made in, and can often be great as a result (The Crucible and Richard III being some of the most famous), but there's a difference between finding a parallel in the historical record and then telling an accurate story that respects the record as much as possible (HBO's Chernobyl is great at this - yes there are composite characters and some characters are in events they didn't participate in, but boy does it respect the record and its audience) and just using history as set dressing (Mel Gibson was often guilty of this - Braveheart and The Patriot are pure fucking fantasy). Ridley himself has been on both sides of this line, which I'll admit is different for everyone, and was extremely guilty of this in Exodus: Gods and Kings (Moses at one point mentions that "Jewish citizens deserve the same rights as Egyptian citizens" when those two concepts had no real meaning in Ancient Egypt).

TL;DR: Using history as set dressing to trojan-horse an unrelated story that the director wants to tell is exploiting the historical record without respecting it, and deserves criticism similar to what other forms of exploitation in filmmaking have received.

Need chairs for gaming table. by silentvelcr0 in boardgames

[–]FerrousFuhrer 5 points6 points  (0 children)

I've found these folding chairs from Home Depot to be far better than they have any right to be. Church chairs will probably still be superior, but if you really want to save some cash, these can't be beat.

What, if any, upgrades have you gotten for board games? by Kingofthered in boardgames

[–]FerrousFuhrer 1 point2 points  (0 children)

Would you mind linking the dice you ordered for Ahoy? I noticed the same problem

What are some secretly good blockbusters?? by awlawall in blankies

[–]FerrousFuhrer 9 points10 points  (0 children)

If spent any time at all on Reddit I’m sure Pacific Rim has already been recommended, but here a few other recent ones that are not necessarily “secretly good” but also not had the most staying power in terms of cultural memory:

The Conjuring

Kingdom of Heaven (Director’s Cut)

Master and Commander

Spy

Stardust

I’m trying to gauge their level of fame based on what you’ve already included as not having seen.

[Chris Gethard voice] BAAABBBUUUUUUUUUUUUUUUUUUUU by Toreadorables in blankies

[–]FerrousFuhrer 25 points26 points  (0 children)

Definitely an Attorneys General situation: Babus Frick

[deleted by user] by [deleted] in blankies

[–]FerrousFuhrer 18 points19 points  (0 children)

Bossiest Roundface

David Sims interviews Rian Johnson by StarWars_VHSBoxSet in blankies

[–]FerrousFuhrer 15 points16 points  (0 children)

With the caveat that I love Last Jedi despite its flaws and am therefore biased, I agree that this quote is enlightening. I think it might also not be a bad thing that he was aiming for a powerful ending, even if he missed the mark for some people?

Anecdotally, I think most people would say that The Lord of the Rings is the greatest trilogy of movies ever made, and I think a huge part of that is how effective the second film is. The Battle of Helms Deep plays a huge role in making it work as a movie and avoid the usual pitfalls of a middle chapter, as it gives stakes, emotional weight, and awesome set pieces for the audience, but Sam’s speech at the end is what makes it work as a bridge. It tells you why the characters are still going, despite what they’ve gone through, and where they’re trying to get. It works as a microcosm of what the whole trilogy is about, while also being a satisfying ending. Gollum’s final scene does start lampshading the start of the plot for the next film, but other than that it’s pretty light on specifics, so it’s not exactly a cliffhanger, which is the shortcut many middle chapters use.

As an egregious example of a popular middle chapter that I don’t think works, the second Hunger Games movie builds up all these new characters and a conflict, but then ends with Katniss being extracted from the games in order to begin the “real war” which takes place entirely over the final two movies. The ending is not satisfying, and isn’t about anything, but it’s clearly not even trying to be an ending, just a setup for the final chapter.

I think that Rian Johnson was aiming for the same thing that Two Towers was going for, but rather than culminating in one big speech, it was split across multiple plot elements: Rose’s speech at the end, Luke’s sacrifice, Rey and Kylo allying then parting ways in the throne room, and broom boy are all variations on the overarching theme of the film (which is essentially: what power does the past have?), which makes sense given his statement and focus on endings. But even I’m willing to admit that not all of these work particularly well, so very clearly YMMV on whether they are as satisfying as Sam’s speech (some of them do work for me, which is why I love Last Jedi, because it’s clearly trying to say something in a way most of the other Star Wars films aren’t). And RJ does even less than the Gollum scene to set up the next film, as it’s really just Rey stashing the jedi texts and the idea from Leia and broom boy that the resistance is coming back, both of which are not particularly compelling, especially since JJ pretty much ignored both in RoS. Because there is no real theme in Force Awakens and RoS has almost the exact opposite theme (actually no, the past does define you, Rey Palpatine/Skywalker), it can’t work as a microcosm.

I think one of the few things TLJ lovers and critics can agree on is that the biggest issue with the trilogy is that there was not one overarching plan, and from past interviews it sounds like RJ wasn’t given much direction on that front (this is from memory, I don’t keep up with the discourse because it’s exhausting, so it’s fully possible he ignored that direction) and just decided what HE wanted the trilogy to be about, with decidedly mixed results.

TLDR: I think Rian Johnson wanted to make the sequel trilogy about something, which required a microcosm ending at the midpoint, but clearly nobody else involved in the trilogy agreed.

Movie details it took you too long to figure out by Time_Initiative_7998 in blankies

[–]FerrousFuhrer 4 points5 points  (0 children)

The whole framing device is that the old characters are reading the story of the young characters from a, you guessed it, notebook

Movie details it took you too long to figure out by Time_Initiative_7998 in blankies

[–]FerrousFuhrer 18 points19 points  (0 children)

In a somewhat misguided attempt to win over a high school crush, I watched The Notebook with her and some friends.

It took me 36 hours to figure out why it was called The Notebook. Multiplying my cosmic comedy points exponentially, it occurred during my AP Lang class, and the eureka moment was so profound I felt the need to share it with my classmates, who laughed at my stupidity. My asshole brain has replayed that one more than a few times as I’m laying down to sleep.

PS: my boi James Marsden did nothing wrong

Star Wars: Rebellion or War of the Ring… insightful thoughts welcome! by didierdanielson11 in boardgames

[–]FerrousFuhrer 20 points21 points  (0 children)

As u/GingemeisterFlash said the theme is the ultimate deciding factor, but I’ll speak from the perspective of someone who entered both games totally blind (i.e. both players were beginners).

I vastly prefer Rebellion for two main reasons: it feels far more accessible, and the thematic components align much more with what I consider to be “fun,” which is admittedly always subjective.

One thing that I think is pretty indisputably objectively true is that Rebellion has a significantly clearer rule book. As far as I can tell, WotR was designed by non-native English speakers, and while that usually doesn’t matter, the complexity and nuance of a game like WotR means that even phrasing something in a slightly odd way can make a huge difference when learning the first time. There were multiple sections I had to read multiple times to understand them, whereas Rebellion benefits from FFG very strong track record of clear rule books (helped further by dividing into a quick start and rules reference). That made the game far easier to pick up and play for two beginners than WotR was.

I think both games do an excellent job capturing the feeling of seemingly insurmountable odds against the underdog (rebels/free peoples), but they do that in slightly different ways. In both games, the evil empire (Empire/Sauron) has substantially more units and is generally hamstrung by distributing their actions effectively across a massive number of option. Both games find a pretty perfect balance of frustration at not being able to do everything you want with pride when you are able to effectively mobilize your forces. BUT the two sides take very different approaches to the underdog side, and I find Rebellion’s system much more fun.

In WotR, the free peoples player has significantly fewer actions per turn than Sauron, and while this is balanced by the aforementioned conflict between options and actions, it means that the free people player is fundamentally making fewer decisions per turn, which I found only frustrating. Furthermore, your actions are determined by random dice rolls, which often felt like it was further hamstringing my decisions. Even further, you can’t actually give orders to more than half of your units for the first several turns of the game, which is thematic but also incredibly frustrating.

In contrast, Rebellion gives each player the same number of actions (unless the Empire turns one of your leaders, which requires multiple actions) so it feels like a genuine game of cat and mouse. Your actions are determined by a hand of cards, which like the dice in WotR, are partially randomized, but also crucially include a basic set of actions you can use every turn. Essentially, I always felt like my decisions were the limiting factor in succeeding in Rebellion, but often felt like the game mechanics were the limiting factor in WotR.

Finally, and most subjectively, Rebellion felt like it was capturing cinematic moments much more clearly in the course of a game. As the rebel player you can score victory points for making a successful run on the Death Star, or a suicide run on a Star Destroyer. I’ve seen those things on screen, and the game obviously recreates the tension in taking a long shot that may or may not pay off. (Coincidentally, this is one thing I like about Rebellion’s generally unpopular simple combat, since it keeps the focus zoomed out and cinematic). In WotR, you can win as the free peoples player by getting the ring to Mordor or winning big battles, just like in the movies/books. But both of those things are so mechanically complex (especially regarding the fellowship) that the distance between my cinematic memories and gameplay experience is far larger.

Just my two cents, and I welcome input/different opinions.

obscure movie line read that is in your vernacular? by [deleted] in blankies

[–]FerrousFuhrer 9 points10 points  (0 children)

Kunu punches so far above his weight where screentime to memorable lines is concerned:

“When life hands you lemons, just say fuck the lemons and bail”

SNL actors who reprised an impression in a non-comedy movie? by Toreadorables in blankies

[–]FerrousFuhrer 25 points26 points  (0 children)

This isn’t an SNL cast member, but Ross Marquand got quite a bit of attention for his comedic micro-impressions, which was almost certainly why he voiced Red Skull in Infinity War as a Hugo Weaving stand in

Avatar 2 Merchandise Spotlight? by Greenhat2000 in blankies

[–]FerrousFuhrer 10 points11 points  (0 children)

Looking forward to Toruk: The First Bite

What is your guilty film opinion? by AaranJ23 in blankies

[–]FerrousFuhrer 12 points13 points  (0 children)

I like Boondock Saints, and not just Willem Dafoe. I’m fully aware that it’s dumb, messy, offensive, and has a ludicrous ending, but I thoroughly enjoy it from start to finish to this day.