But it is hilarious in a meta kind of way that a bottom feeder "summarize real writing done by others, and slap on a clickbait headline" website pretends to have the moral high ground on this issue. I wonder what the guidance they give t to their writers is, and what metrics they're pushed to improve.
Good One (2024) https://www.imdb.com/title/tt30319516/
Strange Darling (2023) https://www.imdb.com/title/tt22375054/
The Creator (2023) https://www.imdb.com/title/tt11858890/
The Night House (2020) https://www.imdb.com/title/tt9731534/
The Empty Man (2020) https://www.imdb.com/title/tt5867314/
Possessor (2020) https://www.imdb.com/title/tt5918982/
Booksmart (2019) https://www.imdb.com/title/tt1489887/
Volition (2019) https://www.imdb.com/title/tt6385952/
Welcome the Stranger (2018) https://www.imdb.com/title/tt5716280/
Time Trap (2018) https://www.imdb.com/title/tt4815122/
Wind River (2017) https://www.imdb.com/title/tt5362988/
A Dark Song (2016) https://www.imdb.com/title/tt4805316/
I Am Not a Serial Killer (2016) https://www.imdb.com/title/tt4303340/
Midnight Special (2016) https://www.imdb.com/title/tt2649554/
The Devil's Candy (2015) https://www.imdb.com/title/tt4935372/
Mr. Holmes (2015) https://www.imdb.com/title/tt3168230/
The Witch (2015) https://www.imdb.com/title/tt4263482/
A Most Wanted Man (2014) https://www.imdb.com/title/tt1972571/
Tinker Tailor Soldier Spy (2011) https://www.imdb.com/title/tt1340800/
Tucker and Dale vs Evil (2010) https://www.imdb.com/title/tt1465522/
Pandorum (2009) https://www.imdb.com/title/tt1188729/
The Fall (2006) https://www.imdb.com/title/tt0460791/
In a Savage Land (1999) https://www.imdb.com/title/tt0151047/
Office Space (1999) https://www.imdb.com/title/tt0151804/
The Double Life of Véronique (1991) https://www.imdb.com/title/tt0101765/
Don't have Netflix so not sure what's available there, and several might not be wife-friendly. Also I enjoy weird, so YMMV.
Why must all content turn to crap?
The music is a huge part of Arcane though, and complements the emotional content.
e.g. The Line (Twenty-One Pilots) was written after Tyler Joseph witnessed the passing of his grandmother and is written from her viewpoint - incredibly powerful and poignant, but also fits in wonderfully with what is happening with Victor (Arcane character).
[1] https://www.bbc.com/culture/article/20180207-how-americans-p...
In this case understanding the context of being sarcasm. It's annoying as you now have messages ending in /hj /lh.
Discord especially where the audience is young; but as we now cater to a world audience of those with disabilities and those without where do you tow the line?
https://www.statista.com/statistics/1251942/global-youtube-k...
> Several screenwriters who’ve worked for the streamer told me a common note from company executives is “have this character announce what they’re doing so that viewers who have this program on in the background can follow along.” [...] One tag among Netflix’s thirty-six thousand microgenres offers a suitable name for this kind of dreck: “casual viewing.” Usually reserved for breezy network sitcoms, reality television, and nature documentaries, the category describes much of Netflix’s film catalog — movies that go down best when you’re not paying attention, or as the Hollywood Reporter recently described Atlas, a 2024 sci-fi film starring Jennifer Lopez, “another Netflix movie made to half-watch while doing laundry.”
In other words, people like me, who want to focus on and experience a great film or series, are no longer the target audience.
Apparently, there's no money in targeting people who want to pay attention.
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[a] https://en.wikipedia.org/wiki/57_Channels_(And_Nothin'_On)
https://www.statista.com/statistics/1301730/us-time-spent-ch...
>A signature characteristic of Netflix’s strategy over the years has been to define genres into microscopic sub-genres and develop content on very specific customer likes — for example “Urban teen geniuses who invent time travel”
>There is an unfortunate issue with making things bad and to somebody’s taste — the person whose taste you are courting may be happy to be courted but if all they ever get of things to their taste are things that are bad representations of that taste they may come to sour on what they once loved.
and that is I think what happens a lot with Netflix, they produce approximations of the thing you love, and by doing this bad half-assed version with the wires sticking out and everything, in the end you don't love that thing anymore.
Netflix in the hunt for quick engagement eats the seed corn of fandom, and are left with nothing to build on.
The comic operas of Gilbert and Sullivan were contemporary to Verdi's work and still feature lots of dialogue, so they are very approachable. You still won't be able to use your phone, though - you'll be too busy laughing!
My recommendation for an introduction would be the 1982 Canadian production of The Mikado by the Stratford Festival. It is currently available in its entirety on YouTube:
Here’s a fun interview that includes a related question:
> Did having the helmet affect your acting at all? How did you maneuver around wearing that for the entire movie, and could you see through it?
> Oh yea [I could see through it], it took a bit to figure it out, it really did, and it was a challenge, you know, the challenge was how to communicate with an audience. And not only because my eyes weren’t visible, but because of the fact that the character of Dredd operates within a very narrow bandwidth, he is a man who has been trained to keep his emotions in check, so consequently it was very important for me to identify how I could humanize the character as much as possible. The sense of humor became very important, that dry, laconic sense of humor, and finding out where’s this character’s compassion? Where does his empathy lie?
NOTE: minor generic plot references follow.
https://reelreactions.wordpress.com/2012/09/19/reel-reaction...
I do recommend The Kid Should See This though, a really good selection of curated videos.
The Muzak-ification of film?
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