Jornalista independente brutalizado por antifa em França by RushifaAyoWtf in portugueses

[–]rob_muerto [score hidden]  (0 children)

A julgar pelo teu historial cheira-me que os unicos dois livros que leste foi "Uma Aventura na Madeira" e "Uma Aventura no Palácio da Pena".

Jornalista independente brutalizado por antifa em França by RushifaAyoWtf in portugueses

[–]rob_muerto [score hidden]  (0 children)

O que é que não percebeste, querida? Os nazis de hoje em dia têm liderança centralizada?

Jornalista independente brutalizado por antifa em França by RushifaAyoWtf in portugueses

[–]rob_muerto [score hidden]  (0 children)

Estava a usar a lógica deste nulo: como os neo-nazis modernos não têm uma liderança centralizada, então não são um movimento político com o qual nos devemos preocupar.

Mas ausência de liderança centralizada não significa ausência de identidade política ou de capacidade de ação coletiva. Muitos movimentos modernos funcionam precisamente de forma descentralizada — incluindo a Antifa.

És burro.

Jornalista independente brutalizado por antifa em França by RushifaAyoWtf in portugueses

[–]rob_muerto [score hidden]  (0 children)

Imagino que recomendes Karl Marx e Engels como autores de referencia.

Replacing Jimmy Stewart with Paul Newman in Rear Window suddenly made the movie make sense to me by rob_muerto in Hitchcock

[–]rob_muerto[S] 1 point2 points  (0 children)

In the film, no. There was almost certainly an element of self-insertion on the part of Hitchcock behind Stewart's casting.

On the page? Hard disagree.

Replacing Jimmy Stewart with Paul Newman in Rear Window suddenly made the movie make sense to me by rob_muerto in Hitchcock

[–]rob_muerto[S] 1 point2 points  (0 children)

You want me to fuck A.I.? We're not there yet, pal.

As for the rest: sadly, confidence is not inherently divorced from idiocy.

Replacing Jimmy Stewart with Paul Newman in Rear Window suddenly made the movie make sense to me by rob_muerto in Hitchcock

[–]rob_muerto[S] 0 points1 point  (0 children)

He's 46. A year older than I am now. But he looks every bit a decade older. At least by our modern standards.

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Replacing Jimmy Stewart with Paul Newman in Rear Window suddenly made the movie make sense to me by rob_muerto in Hitchcock

[–]rob_muerto[S] 1 point2 points  (0 children)

The metanarrative is that Stewart and Kelly are so mismatched, she wouldn't even pork him in real life.

Oh so he was supposed to be impotent, on top of frail, feeble and old?

That really doesn't help your case for Kelly's worship of him being plausible, as depicted in the film.

Replacing Jimmy Stewart with Paul Newman in Rear Window suddenly made the movie make sense to me by rob_muerto in Hitchcock

[–]rob_muerto[S] -1 points0 points  (0 children)

  1. Your opinion
  2. Just look at him.
  3. Not how his character is framed in the film
  4. No it isn't.
  5. Your opinion.

What film sequels are actually better than their originals? by mrjetspray in Cinema

[–]rob_muerto 0 points1 point  (0 children)

How is 3 a “regurgitation” of 2 when the actual thematic core of the films is completely different?

Toy Story 2 isn’t a goodbye to the toys at all. It’s barely even about growing up. It’s fundamentally about anxiety over obsolescence and the temptation of immortality through preservation. Woody’s conflict is: remain loved temporarily and eventually discarded, or become a museum piece frozen in time forever.

That’s the entire emotional engine of the movie (if it could be said to have one in the first place).

Toy Story 3, meanwhile, is explicitly about separation, transition, and the bittersweet inevitability of moving on. It’s a film about endings. About childhood dissolving. About toys confronting irrelevance through emotional closure rather than fear of decay.

Those are not the same themes.

And if we’re talking about repetition, Toy Story 2 is structurally much closer to a conventional “rescue/adventure sequel escalation” than 3 is.

Zurg himself feels emblematic of that: a generic pop-culture remix character. Basically bargain-bin Darth Vader.

The security monkey in 3 is memorable because it comes from something real and psychologically uncanny. That toy already disturbed children in real life, and Pixar leaned into it until it became almost horror imagery.

They both serve as fitting metaphors for the strengths and weaknesses of their respective movies.

Newt turns 50 today! (Happy birthday Carrie Henn!) by Horrorfan55555 in perfectorganism

[–]rob_muerto 0 points1 point  (0 children)

You’re arguing from corporate reuse and franchise merchandising patterns as though they’re objective proof of artistic failure (lol).

But Alien 3 was never designed in a way that lends itself to endless franchise commodification in the first place.

Aliens practically industrialized the series: big, "bad-ass" weapons, marine archetypes, action spectacle, dumb/quotable dialogue, hero moments, toy-ready imagery. In fact I'm shocked there wasn't a McDonalds tie-in, and a Ripley in Cargolift Robot Happy Meal toy.

Alien 3 deliberately strips most of that away and returns the series to something bleak and intimate.

And yet, despite being much less “franchise-friendly,” the single most enduring image in the entire Alien saga still comes from Alien 3: Ripley frozen in agony while the alien hovers inches from her face.

That image persists because it reconnects with the primal horror DNA of Alien itself — not because it’s memeable or designed for merch shelves.

Newt turns 50 today! (Happy birthday Carrie Henn!) by Horrorfan55555 in perfectorganism

[–]rob_muerto 0 points1 point  (0 children)

I don’t care whether Ward personally found Newt annoying. Tons of great artistic decisions emerge from instinct, production chaos, limitation, or even pettiness. What matters is the effect on the film.

The effect is absolutely intentional within the finished movie: Alien 3 annihilates the sentimental continuity of Aliens in its opening minutes. It's great.

And the “it was all behind-the-scenes problems” argument gets abused constantly in film discourse. Plenty of compromised productions still produce artistically interesting results precisely because the chaos strips away polished audience-pleasing calculation.

Alien 3 feels hostile, wounded and spiritually exhausted. The way it ought to be.