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david-talks-sw · 7 months

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At what point do you ask yourself if the Prequels did this to itself.

Sure having Gen X creatives probably doesn’t help. But I still see a lot of younger folks and prequel kids have a “the Jedi we’re wrong” narrative. We can argue whether or not it’s because of those Gen X creators sure.

But a film or film needs to speak for itself and convey the ideas of the creative and not have people research what he or she says. It can be fun sure but at some point the film needs to do the work.

Course if you think the film does the work that also is a debate worth having. But the fact that we still have this debate at all must say something and I don’t it’s simple as “older fans don’t get it” maybe that’s part of it but I still think there is something about the prequel’s execution to be desired.

Guessing you're the same anon from this post.

It's not as simple as "older fans don't get it", but that is the starting point of the issue, because the older fans are the ones who generated the content that the Prequel kids would go on consuming.

And you can see a trend in all Star Wars merchandise. Around 1999 to 2005? The marketing, the books, the comics, all tend to frame the Jedi in a positive light, but more importantly focus on the intended narrative, that Anakin brought this down on himself.

And the haters, well, they're arguing that the Jedi are a bunch of idiots and incompetents, that Anakin is whiny and changes his mind and joins the Dark Side to kill the Jedi on a whim.

These are very uncharitable reads but at least they track with the intended narrative.

The Jedi are always playing catch-up, calling them "incompetent" is tough but fair.

Anakin is whiny, arrogant and petulant but he's a teenager. That's how they are. That's the point: he's a teenager and he's trying to get married and settle down and have a family, etc, "because i love her and she loves me" when even the woman he's in love with tells him "that's not how things work, buddy, there's other factors, this will spell out destruction for everyone". Eventually she gives in, but that doesn't make it any less destructive.

Anakin does turn to the Dark Side immediately. That's how scared he is. That's how traumatized he is. He hasn't slept in days and he's not thinking straight, he's scared shitless and he's panicking and here's this space sorcerer who says he can stop people from fucking dying?? Of course he'll join.

But the other thing is... those are criticisms coming from an adult perspective. AKA not the intended viewer. Cuz I sure wasn't thinking any of that when I was a kid. I was deep in the story and going along with it. I have a friend whose kid watched the films first, same deal, he's not asking that.

These are movies meant for kids. Is the plot slightly more complex than your average fairy tale? It is. But it remains a fairy tale in, especially considering its target demographic.

And this fairy tale was made by an experimental indie filmmaker from the Baby Boomer generation with a background in anthropology (hence why there's so many mythological callbacks in the films), cinema vérité documentary filmmaking (explaining the cinematography of the Prequels) and editing.

It reflects who he is and what his values are. He's ahead of the curb in his way of thinking, but some of his values reflect the generation he was a part of.

Finally, the films reflect a particular style he's emulating, the 30s matinee serial. Everyone speaks a certain way, sometimes it's bland, sometimes it's straight up corny, but it's all on purpose.

These films kept being scrutinized by people who saw them as "blockbuster scifi films" and reviewed/analyzed them as such.

They're not. They're indie movies with a big budget. They're fairy tales in space.

They're this weird little niche thing that this funny weirdo from Modesto with a fascination for pyschological motifs in mythology came up with. Remember: the first Star Wars movie was released with an expectation from everyone, including Lucas himself, that it'd be panned and despised.

As they years go on, a lot of the adults who hated the Prequels try to do the decent thing and find a way to like them... but the story seems so stupid to them, as it is.

But then they either think or come across an interpretation, a prism through which to see the Prequels... that - holy shit - actually makes them better, and have more depth. The theory is...

What if Jar Jar is secretly a Sith Lord?

What if the Prequel Jedi are meant to come across as dispassionate? I mean, isn’t that what being a Jedi is, apparently? You purge yourself of attachments aka emotions, and act only logically.

Wow, that… that actually makes the Prequels sound better. Like, think of the implications:

The Jedi are too systemic, they’re more prone to violence than they’re supposed to be, they’re meddling with politics, and if you read the EU, they’re essentially kidnapping babies, brainwashing them, indoctrinating them, and if they don’t pass the tests then they become farmers or get kicked out. They’re high and mighty assholes who preach peace but also frequently get into fights. Also, to become a Jedi, you need to have a high enough midi-chlorian count which shows how overly-organized they’ve become, rather than allowing themselves to ‘feel’.

Qui-Gon is not just a maverick: he’s ahead of the curb. I mean, he’s the first guy to become a Force Ghost, he’s gotta be doing something right that the others aren’t, right? Also, he’s got a love interest, he gets angry when she gets killed. Y’know, a human reaction? Like the one Anakin has and tells himself he needs to repress, like a Jedi apparently would?

And you know what? Maybe that’s the problem that makes Anakin go to the Dark Side: these guys took a 9-year-old slave and forced him to repress his emotions until he finally cracked. He just wouldn’t fit in the mold, they kept pushing, until he finally broke. Sure, Palpatine leverages Padmé’s life, but Anakin would never have been in that situation if the Jedi had been compassionate enough to notice he was in pain and distress. Yoda literally tells him to “rejoice” at the thought of someone dying. What kind of idiotic advice is that? It’s clear, the Jedi are no better than the Sith, they’re just two sides of a different coin. One feels too much, the other doesn’t feel at all.

Holy shit… this is all making so much sense…! The Prequels might actually be secretly good! Or if not good, at least more coherent, now!

And oh! Oh! That’s what makes Luke special! Cuz yes, Luke is special again, thanks to this interpretation!

He finds a middle ground between the unfeeling Jedi and the Sith, who have become slaves to their emotions. He uses the Dark Side to beat Vader, but uses it like a tool, keeps himself in control (like some sort of Jedi in the middle... like… a gray… Jedi). Like, sure, Anakin can be the Chosen One, whatever, but Luke? Luke has found the balance, he succeeded where Obi-Wan, Yoda (who wanted Vader dead instead of believing he could be redeemed) and the other Prequel Jedi failed. And the EU books that follow Return of the Jedi seem to confirm this, as you can get married within the New Jedi Order, and Luke can use Force Lightning and he can take on an army of Yuhzan Vong by himself!

Wow. You know what? For all their faults, the Prequels make sense. Maybe Lucas is a genius after all.

Some of the people are in a position where they can create new Star Wars content. So they set out to fix something that, in their view, was broken... but that from Lucas' POV, wasn't. Some of them think they're setting out to clarify a narrative (but are actually focusing on an aspect that wasn't meant to be scrutinized and challenged that deeply in the intended narrative).

And they crank out this content, because Lucas didn't particularly give a fuck about the EU. When they have the chance, they push the new narrative, and nobody stops it because, hey, at least they're engaging with the material, and the original narrative was stupid anyway.

What happens? The Prequel kids grow up with this content being pushed on them more and more.

And they're immersed, right? So when a new book makes Obi-Wan come across as an asshole, they don't think "Obi-Wan would never say that" they go "oh shit, turns out Obi-Wan's an asshole!"

So now THAT generation, that's just going by the canon that was put out post-movies, is slowly but surely growing up with the same interpretation (me included).

There's also a more psychology-aware culture, and more and more Anakin comes across as someone who's being mentally abused by the Jedi. He's got some sort of mental disorder, he's socially anxious. He's not whiny, he's crying out for help. Those values of the Jedi (that Lucas shares)? They're actually weird and archaic!

So that whole aspect gets thrown into the mix.

Fast-forward to today, and the newest generation of fans grows up with "the Prequels show the Fall of the Jedi" as common knowledge, and the High Republic, New Jedi Order and Dawn of the Jedi is where it's at. Those Prequel Jedi are real dogmatic, tight-assed fuck-ups, wow, amirite?

TLDR:

No, I don't think the Prequel Trilogy did it to itself. I think it accomplished exactly what it wanted to for the people it was meant to do it for (kids).

It's just that a bunch of people came right after it and retconned the fuck out of it, then proceeded to say "yeah, it was always this way, even the original author said so" when he didn't.

My stance, as usual, is best summarized by this metaphor:

#QnA #long post #jedi order #george lucas #star wars

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world-cinema-research · 19 days

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Dead Poets Society Blog Essay

By: Jillian Arnold

A quote from Mr. Keating, “We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion.”

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I first watched Dead Poets Society when I was sixteen years old for my sophomore year English class. My assignment was to find a monologue to memorize and record myself presenting it, as it was COVID during the time. As I was searching for speeches, I came upon one by Robin Williams and since he was in many movies from my childhood I thought, why not look into it? I chose that speech for the project and decided to watch the movie to get to know the speech better. I ended up loving the movie and it changed my life with its outlook on life and movement to seize the day. Unknowingly, I was the same age as the boys I connected with and would continue to grow with them as they remained the same age.

Dead Poets Society was released into theatre on June 2nd, 1989, and was both a critical and commercial success. The movie earned $95,860,116 domestically and $235,860,116 worldwide, making it the fifth highest-grossing movie of the year when it only had a $16,000,000 budget.

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During the release of this movie in 1989, George H. W. Bush was sworn in to become the 41st President of the United States.

I was not the only person affected by Robin Williams’s powerful speech in this movie. It was well-received by audiences, scoring 92% on rotten tomatoes. This movie appealed to the audience with its message of carpe diem or to “seize the day.” According to Dead Poets Society: A Summary by Faith Lord, “The story portrays a teacher named Mr. Keating who has come to an all-boys school that is steeped in tradition with boys who are expected to follow the rigid and unyielding expectations of their parents regarding their education. Keating's unconventional methods use poetry to help the boys regard their identity and desire with his lessons from literature and poetry.” This intended message reached out to the people who are stuck in a cycle doing meaningless things to them and to be an independent man who seizes the day and don’t let their life fly by them. The producers relied on reaching their audiences to have them connect with the film. They didn’t need big action scenes or a love story to touch people’s hearts. Another appeal to the audience was the famous actor Robin Williams, who starred as Mr. Keating in the film. As a beloved actor at the time, his improv and humor brought people happiness and made them laugh at previous films, making people want to see his role in this film.

The film does have some problematic elements for viewers that stirred some controversy when the film was released. The first is its outlook on suicide. Near the film's end, the character Neil Perry is forced to withdraw from his beloved school to military school and has to quit theatre, which was his newfound love. His last act was putting on his thorned crown from A Midsummer Night’s Dream before shooting himself. This suicide could’ve been seen as his last rebellion and could be praised biblically, but that may not be the case for all viewers. This glorification of suicide can cause more harm than good since suicide is the second leading cause of death for people. Another problematic topic could be the film’s issue with queer baiting. Although this may have not been an issue when the movie was released to today’s viewers, it may be a more current issue. There is a heavily alluded LGBTQ relationship between Neil and Todd in the film but there is no confirmation. This baiting takes away from the representation of a minority and can take a toll on the viewers in the community since they don’t see themselves reflected in films very often.

This movie is an unconventional movie with its deeper meanings and its non-blockbuster-type plot. The plot of this story isn’t conventional and doesn’t have an outlined story, rather it follows the ups and downs of boyhood and their struggle to break free from the status quo.

I chose this movie to write about for the first assignment of the class because it was a movie that stuck out to me growing up and I knew I would be passionate to write about it for this assignment.

When I first watched this movie, I didn’t see its problematic themes, I just loved the poetry and the outlook on life. After watching it this week and doing research on it, I understood its themes and why there were problematic topics. I never knew when I first watched it that it was such a huge film and is famous, but now that I’ve rewatched it I know that it is. Overall though, I still really enjoy this movie and it’s a go-to watch every time. I love the characters and see myself in them and can find solace in them. I have taken the movie’s main message, “seize the day,” and it has allowed me to find the things I love right now. If I hadn’t taken that step and seized my day, I wouldn’t have joined my love of theatre nor taken the time to figure out what I wanted to do with my life. Finally, a quote from the movie, “The powerful play goes on and you may contribute a verse. What will your verse be?”

#Youtube

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reluctantjoe · 3 months

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Mathew Baynton: ‘I sometimes think the culture wars only happen in people’s minds’

As he prepares to play Bottom at the RSC, the Ghosts star talks about why making comedy in the UK is no laughing matter

Before I meet Mathew Baynton I’m half expecting to encounter a version of the Regency poet he played with such expressive romanticism in the BBC’s exquisite hit sitcom Ghosts. Or the flamboyant rapping Charles II, just one of the many historical characters the collective reimagined with antic gusto in the children’s TV series Horrible Histories. Or even the fabulously reptilian Mr Fickelgruber from the recent blockbuster hit Wonka. In other words, surely an actor renowned for playing delicious Technicolour caricatures would be a bit outsized himself?

Instead when we meet at the RSC rehearsal studios in Clapham, Baynton slides along the wall as though trying to disappear into the paintwork. “I don’t like entertaining people socially,” he says apologetically. “At a recent wedding I was too shy to dance. I’d have no hesitation dancing my socks off in a show and looking very silly, but not at a wedding thank you very much.”

Baynton, 43, is about to play one of the silliest characters in the western canon, Bottom, the hapless, deluded wannabe actor in A Midsummer Night’s Dream at the RSC. It’s Baynton’s first theatre gig in 10 years. The reasons he hasn’t trod the boards for so long are perhaps predictable – the combination of screen and family commitments, he says: he has two children, 12 and eight, with his partner, the film historian Kelly Robinson. But also perhaps because no other stage role until now has made him think that “if I said no, I might spend the rest of my life wondering if I’d made a massive mistake”.

He’s been relieved to discover the Mechanicals, the amateur acting troupe of whom Bottom is arguably the least talented, are not the “beer-swilling rotund yokels with West Country accents” he remembers from mediocre productions in his youth. “My feeling with Bottom is that someone once said to him he was quite good at acting, and that’s been enough to make a monster out of him. He has precious little experience but just enough to make him think he can do it all. My Bottom will be ridiculous. But there is a real sweetness to his enthusiasm.”

Baynton is very good at finding the sweetness in the patently ridiculous. It’s there in Ghosts (which he co-created) about a mismatched bunch of spectral beings trapped together in a crumbling old house and whose final episode after five seasons last Christmas attracted 6.6 million viewers. There was an endearing bumbling charm to his pathologically helpless Berkshire county council worker Sam Pinkett in the 2013 cult sitcom The Wrong Mans, which he developed with James Corden. Even Fickelgruber wasn’t too menacing.

Surely, though, he would have been even better casting as Wonka himself? “Er, I don’t quite have the global reach of Timothée Chalamet,” he splutters. “Although, a bit like Bottom, I always think: I’d have a go at that!” He adores the way the film embraces old-fashioned spectacular storytelling. “It’s lovely to see budget being used for big choreography and lots of people dancing in a town square, and not just explosions and fights which are usually the things budget buys.”

He deplores, though, how hard it is now to get original family blockbuster entertainment greenlit. “I grew up in a golden era of that sort of thing – ET; Back to the Future. These days you can’t do anything in that area that doesn’t have existing IP. You need to give the financiers a pre-existing brand. You can’t say ‘I’ve written this idea about this kid who is friends with a crazy scientist’ and hope to make it into a big film. And that is very sad.”

You can, though, just about, still pitch original ideas with cross-generational appeal to TV. Ghosts was a rare example of a TV sitcom that enthralled adults as much as it did their children. What’s more, it did so with almost surreal placidity. In a cultural climate that seems to trade on people being as loud and divisive as possible, Baynton’s faith in an inclusive gentle comic mayhem feels positively subversive.

“Everything these days is designed to agitate because agitation is the quickest way to get someone’s attention,” he says dispiritedly. “In season two of Ghosts, we had an episode featuring a gay marriage, much to the outrage of Lady Button. But eventually she realised that the unhappiness in her own marriage stemmed from her sexually repressed homosexual husband. Softly softly, there is a thesis there. Which is that if we could just put our f---ing phones away and sit down with each face to face and talk, then [these polemical attitudes] will loosen.”

Baynton grew up in Southend, the youngest of three brothers, and spent an awful lot of time watching Monty Python and Dad’s Army with his father. He attended Rose Bruford College and then trained in clowning at the Ecole Philippe Gaulier in Paris. His first major professional success was Horrible Histories, which ran for five years from 2009; around the same time he started working with James Corden.

“We immediately hit it off,” Baynton tells me. “We were laughing at similar things,” Corden wrote him a part in Gavin and Stacey and Baynton then approached him with the idea for The Wrong Mans. A classic British sitcom pretending to be a Hollywood thriller, in which two jobsworths find themselves inadvertently embroiled in a fast-spinning web of crime and conspiracy, like much of his work it’s quietly radical.

“I had this bee in my bonnet about how comedy at the time was never allowed to have high production values. You had single-camera family sitcoms and you had brightly lit studio sitcoms but never anything that looked like a Coen brothers movie because the budgets are so low. So we thought, if we write something along those lines with James in it, maybe someone would take a punt. But the BBC said they couldn’t afford it. They said, either you rewrite it, or we junk a lot of it. So we went to America. In the end, it became one of the first America/UK co-productions [it was a co-production between BBC Two and the US streaming platform Hulu]. And that’s now become a widespread model.”

Baynton seems to be permanently busy: he’s currently writing a comedy film, which he can’t discuss, and this year will appear in the BBC’s forthcoming adaptation of Holly Jackson’s young adult thriller A Good Girl’s Guide to Murder. He worries, though, for the future of comedy on TV. “For the sixth year running Ofcom has labelled scripted comedy [at the BBC] to be at risk,” he says. “The amount being produced is at an all-time low. I know commissioners wish they could commission more, but for whatever reason they aren’t given the budgets. Which is mad when you think about how much comedy means to people over other sorts of programmes. No one puts ‘good sense of drama’ on dating apps.” Does he think comedy has become a casualty of the culture wars in which people are increasingly fearful of causing offence?

“You might think that if you only paid attention to the culture wars,” he says. “I sometimes think the culture wars only happen in people’s minds. Comedy is wide enough to accommodate many voices. And if you just get out there and go to a comedy gig, you will see brilliant people being funny all the time.”

#mathew baynton #mat baynton #the telegraph #rj: interview #rj: mathew baynton #rj: 2024 #making a seperate post with these pictures #because WOW #he looks GOODDD

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popentertainment-moviereviews · 9 months

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HAUNTED MANSION (2023)

Starring LaKeith Stanfield, Tiffany Haddish, Owen Wilson, Danny DeVito, Rosario Dawson, Chase W. Dillon, Dan Levy, Jamie Lee Curtis, Jared Leto, Creek Wilson, Hasan Minhaj, Charity Jordan, Steve Zissis, J.R. Adduci, Lindsay Lamb, Fedor Steel, Terence Rosemore, Mike Benitez, Erika Coleman , Christopher Winchester, Jo Koy, Marilu Henner and Winona Ryder.

Screenplay by Katie Dippold.

Directed by Justin Simien.

Distributed by Walt Disney Studios Motion Pictures. 123 minutes. Rated PG-13.

If the goal of this film was to top Eddie Murphy’s admirable trainwreck version of the Haunted Mansion from 2003, well then, mission accomplished.

That is not to say this version isn’t without its own shortcomings and issues, but for the first time in a long while with Disney, I went into this movie genuinely excited. This excitement could be possibly attributed to the fact that the Haunted Mansion has been my favorite, and most visited ride at the Disney Parks for almost 20 years now. Or it could be the early childhood nostalgia I had from repeated viewings of the 2003 version on DVD and being the most scared kindergartner you could find in the state of Pennsylvania whenever I would sit down to watch it. Call it whatever you will, but I was excited, nonetheless.

This film is the next big budget Disney film in a long line of commercial flops, and I’m sure the House of Mouse is hoping that this film will break the streak with its loaded cast (LaKeith Stanfield, Owen Wilson, Jared Leto, Tiffany Haddish, Jamie Lee Curtis, Danny DeVito, Rosario Dawson) and screenplay written Katie Dippold (The Heat, Ghostbusters 2016). Unfortunately, for all 999 happy haunts, this movie is sandwiched in between two of the most talked about summer blockbuster films in recent memory, Barbie and Oppenheimer, or what is now known as Barbenheimer.

Walking into the theatre through the nearly 300 people all dressed in pink going to Barbie, we got to our seats and there was a really fun and excited vibe going through the audience, people actually cheered when the movie started (first time I’ve seen that since Avengers Endgame 2019). And overall the movie went over well with the crowd. The jokes for the most part landed when they needed to, and I felt the impact of a good amount of the emotional beats in the film.

Especially LaKeith Stanfield, who delivered a beautifully eloquent and emotionally powerful tearjerker of a monologue describing the things he loved about his deceased wife (much in contrast to Eddie Murphy’s painfully stiff and hard to watch line said to his abruptly killed wife “Sarah, I love you so much.”)

Another standout performance was Chase Dillon, who played Travis, the socially awkward young son of Gabbie (Rosario Dawson). You really felt for the kid throughout the movie, the loss of his father, not fitting in and, obviously, the fact that his house is extremely haunted. Of course, you get the usual on-brand performances from Wilson, DeVito and Haddish, although it’s nice to see that what they bring to the film is relegated to their supporting lead comic relief moments and doesn’t take away from the emotional moments and overall story.

This version of the Haunted Mansion is also filled to the brim with Easter eggs relating to the lore of the actual rides in the Disney Parks. It’s also great to see the hitchhiking ghosts make an appearance as they have been a personal favorite for the longest time. On that note, the spirits in this version have taken a massive leap in quality compared to their ‘03 counterparts as now some of them have genuinely scary moments (but let’s not forget the childhood trauma-inducing crypt scene that still sends shivers down my back just thinking about it.)

This version’s main antagonist is also a reference to Disney Park lore. The Hatbox Ghost (Jared Leto) was an animatronic placed in the attic scene that debuted alongside the ride itself but was removed in 1969 and wouldn’t be seen again until 2015. Leto himself in the role delivered some truly imposing moments of terror. Always as this black figure looming somewhere in the shadows until his big reveal. The scares in this film are also done fairly well as the film uses very modern horror techniques in its first scene with the mansion itself, which is very reminiscent of the 2017 adaptation of Stephen King’s It.

But here are the downsides. The film for the first two-thirds feels decently paced, thorough, and exciting, but jeez, if they didn’t lose themselves, and the plot in the last third. It felt like the movie had taken a complete turn and I felt as if I was watching a different movie.

Secondly, as much as I love Jamie Lee Curtis, I have to say Jennifer Tilly was significantly better as Madame Liotta, and throughout a majority of the film I just kept wishing she were back in the role, especially when Mrs. Curtis attempted whatever unspecified accent she was going for there.

And, as weird as this will sound, and I already know it will, I miss Terrence Stamp, General Zod himself, as the main antagonist. Ridiculous, over the top vibrato and all. He felt like such an imposing figure, and most importantly for me, he wasn’t CGI. Don’t get me wrong the Hatbox Ghost design is great, but I miss just a spooky old British guy popping up behind you and just being an intimidating presence on screen.

Again, is it better than the ‘03 version? Yes. Does it have flaws? Absolutely. But this film is the kind you can bring the family to when there’s nothing else to do and everyone will have a fun time based on the spectacle alone.

Early box office results for this film have it significantly below Barbenheimer and looking like another project where Disney is coming in below where they would like to be financially. Unfortunate, but not unexpected. But hey, if you’re a fan of Disney’s best ride (this is a non-arguable point, it’s been backed by science, just don’t ask which scientists) or you’re looking for an easy watching experience, this wouldn’t be a bad option whatsoever.

George Seth Wagner

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#Haunted Mansion #2023 #Movie Review #LaKeith Stanfield #George Seth Wagner #Youtube

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not-terezi-pyrope · 11 months

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Hi! I read a lot of your posts on AI and I’m just curious about your take on the impact of AI on people and culture? I don’t use twitter so I don’t know what is being argued with AI, but my personal qualm is that it could obscure human experience. I’m not really concerned about the ownership of publicly available media, but I am worried about how AI can be used on a large scale by corporations to control human narratives. We already live in a world controlled by media monopolies, almost everything is owned by Disney, and their stuff is absolutely formulaic enough to be written by AI. While humans are borrowing just as much cultural information, one is still an original thought about how art should be created and presented. A corporation’s use of the technology will prime whatever is released for pure profit. It doesn’t need to be thoughtful at all. Again, this is already happening, but AI is just another way to streamline it. That’s part of why the writers strikes are happening right now. That kind of automation technology can shoehorn us into the necessary ends that corporations find most profitable. After reading your posts I realized that I was clumping in the technology with the ill intent of corporations. I wasn’t really considering all of its applications in its current form and I was kind of focusing on fear. You’ve changed my mind about some things. But human learning is dictated by modeling. We are sponges constantly absorbing the media shown to us. What if what’s available to us is always something easily automated by a company with its own interest? Avoiding that media completely would just result in personal isolation. I’d love to hear your thoughts on this as someone who understands the technology!

I think the key point here is one you've already made; corporations are already churning out mass media pulp optimized for profit, and have been doing so for years. At present, that pulp is probably more profitable when produced by humans, at least in terms of the overall story design of our media, so incorporating AI probably won't change much about its quality except for noticeable shortcuts that are deemed acceptable. But this is already true in digital productions. Corporations will probably still try to compete with a baseline of quality to make big budget releases acceptable to markets. You can't cut all the corners with cheap tech, which is why we are not seeing those shitty knock-off animated movies in cinemas. Things need to be a least competent even if they are schlock.

In the long term, if AI really is able to produce entire movies or similar that are comparable to human-made mass blockbusters, then the implication of that kind of depends on who is in control of the AI. It might lower the barrier to creating good looking movies, it might just let Disney make more animated princess flicks faster. I don't think either of those outcomes is essentially bad. There's good and bad ways it could manifest.

Specific failings of the technology could result in things like subtle bias, or feedback syndrome where the AI has little new content to work on as all new artworks are themselves AI generated. These are both technology issues that can be addressed, though, and are far enough off at the moment that it's hard to speculate about any real harms.

Honestly, the biggest negative impact currently threatened by AI is the obvious one that the writers are striking over; capitalism isn't set up to provide for human livelihoods under increased automation. The only solutions to this problem are strict regulation on how corporations can employ automation, or, perhaps more simply, watering down or abolishing capitalism. UBI is most realistic avenue for this at present, I think, even if it's not totally ideal (I'd like those corporations to not exist in a form that creates a profit motive, thanks).

Cultural concerns aren't nearly as scary a prospect on the horizon for me. Yeah, AI can be used to produce cheap schlock, but humans can already do that, can even automate it with free software somewhat with no machine learning required. As long as humans are ultimately deciding how and when the cheap schlock is made, as they are now, I doubt much will change about the essential character of popular art. This is all just my personal opinion, though. It's hard to predict exactly how things will shake out.

Thanks for asking!

#not-terezi-speaks #asks #anonymous #ai

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inyourwildestdreams22 · 10 months

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Challenger’s definitely will benefit from a press tour besides the Z factor it’s not an IP like Dune so doesn’t have a fan base. I don’t think anyone is expecting blockbuster numbers but they expect it to do well enough to make a profit and for Luca be his highest grossing movie cause he really has low Box office numbers.Studios and investors can only support so long for the only return to be awards and no profit. I think I read that he got his own funding from Italy for Bones and all and people didn’t take a salary . The budget was only 16 million and it did not cover that. Plus no major awards.All this to say Luca needs this to do well probably more than Z

Yeah, he’s not stupid and he knows that Z has major star power so this is beneficial for him as well, idk I hope Amazon tells us soon if they are gonna delay it or not

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talkingharrystyles · 2 years

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It's true that Olivia lost Perfect due to "creative differences" and it hasn't been announced yet but an actor/director is going to be the new movie director?

We all knew that she lost this job. She has shown that this stunt is her main priority and the producers and studios probably saw that and decided to hire someone else. At the moment that she didn’t start shooting in March I knew she lost his job. I feel like this is going to happen with a spider woman as well. It has been a rumoured that she has been attached to this film and she confirmed it herself but marvel and Sony have never said anything about this film getting green lit. I also heard that it was scrapped because they want to focus their attention somewhere other than the spider universe so there’s another job that she lost. I feel like a lot of people have seen don’t worry darling already and no matter how she much she tries to pay people to say this movie is not going to do well. I think that Warner Bros. is trying to hype it up as much as possible but once those credits go in and rip it apart it’s going to die. I think people need to realize that we are in an age where streaming services are more accessible than going to the theaters. Going to the theatres cost were $15 nowadays and you can pay just a little bit more for Netflix or Hulu or an Amazon prime subscription. These days the only movies that do well are ones that are huge blockbusters like marvel, or DC, or we saw Topgun. Add movies that do well are the ones that the critics live. Or have a lot of hype around them. Once I see a movie it’s trash and a lot of people are talking shit about it and it’s not very good I’m not gonna want to pay $15 to go see it. So that’s what’s going to happen with don’t worry darling. People are going to read the reviews and see that it’s not a good movie and they aren’t gonna want to see it because it’s bad. I feel like it’s only really going to make money in the US and I don’t see it doing well It doing well anywhere but the US. Remember all she have to do is break even but who knows if that’s going to be possible and for a movie to be successful it Hass to make three times its budget so even if she does break even the movie just made back what was put in it. The studio made back what they put into this movie they have to make more for the studios if you consider a success. So if this movie doesn’t make three times its budget then Olivia won’t get hired again.Not to mention I feel like the perfect producers in the studio probably saw all the shit that she caused and don’t worry darling and they don’t want that to happen to them so that’s why they got rid of her

THIS!!!!!

So many people are included in the backend deal, so if Olivia wants to make some serious money, this film will need to make even more then three times the budget!! She’s been Hollywood and has nothing to show for it, this stunt is her ticket but just like everything she touches… she’s ruined it

A lot of people including producers, executives and studios are watching her, and they are seeing the negative press around her, the stunt and the movie. They have people who watch social media, they know everything that’s happening.

I agree with what you said about the hype! They want their money back; they spent $40 million on a movie that has no real special effects; it’s a joke!! So the more they *try* to hype it’s to get their money back! And the fact they are going it themselves shows they don’t trust the director of her own movie to do the job.

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reflections-in-a-critical-eye · 8 months

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Why do you think romcoms don’t hit the way they used to?

I grew up watching all the classics with my mom so I do think nostalgia is one reason, but it can’t be the only one.

These days many romcoms miss some elements that the earlier onse had. I can’t pinpoint what.

I recently watched this movie( The royal treatment) who tried to emulate classic romcoms by giving the girl these quircky Italian-American family who lives in NY and are very close to the community to give an example, but it doesn’t work. To put it nicely the movie sucks ass.

There's several reasons why rom-coms today don't look the same as they used to. We have to remember that any film (at least in my view) reflects the society and the current times in which its made. An 80s rom-com will have characters with a specific set of values that protagonists in the 2000s might not. I'd say even the 1930s-1940s screwball comedy is sort of the beginning of the genre, just think of the movies Katherine Hepburn and Cary Grant did together. The genre changed so much throughout the history of cinema and what we have today reflects the world in which we live. In terms of ideological/societal changes, just look at how the female characters are depicted. Still in the 2000s, it looked like the majority of female characters had but one purpose: finding love. Nowadays, as an effect of current understanding of feminism and gender roles, we're loooking at different needs and desires.

Another element would be the financial aspect. Franchises and comic-based films took over the industry in the last 10-15 years? It feels like a lot of genres of mid-range films disappeared and were instead replaced with the superhero blockbuster. And obviously we still have the B-movies. The point is, there's less investment and that is ruining Hollywood, among other reasons. On top of that, we've been living in a golden age of television. If we want good stories, that's what we watch. A lot of money goes into that. Streaming platforms had their contribution as well. They still put out some rom-coms from time to time. Some do well, others go unnoticed. A lot of the times, there are no big names playing the protagonists. No JLo or Julia Roberts. The big names either go for the drama because it has more Oscar potential; tv series of course and lastly, the bug budget film because it pays well and they end up stuck with a franchise for 10 years, aka Hell. But hey, they get money.

I see this as a period that it's definitely a low in general for genre films in terms of the budget they get and the audience reach. It might come back, but perhaps with some added changes. Like I said, it's a bigger issue, of studios not investing anymore in mid-cinema.

#m thoughts #hollywood #romantic comedy

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tailsrevane · 1 year

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[comic review] avatar: the high ground (2022)

writer: sherri l. smith artists: various

it’s weird that i keep having to talk about star wars in my avatar reviews, but there are a lot of truly bizarre connections between the two considering i don’t think there’s any real cross-pollination between them aside from disney having a stake in both of them? but, yeah.

a lot of star wars fans are probably familiar with the story of splinter of the mind’s eye. this was a novel by alan dean foster (the ghostwriter of the first film’s novelization) that george lucas commissioned as a book that could be easily adapted into a low-budget sequel for star wars if the first movie didn’t make enough money to finance a sequel. of course, that was before the first movie totally redefined expectations for a summer blockbuster, so foster’s novel ended up not being needed for its original purpose, and it just sort of existed as a kind of awkward entry in the canon of the eu until disney nuked it. dark horse did a comic adaptation of the novel in the 90s with some of that gorgeous coverart that the dark horse star wars comics always had, which is the way i found out about it.

avatar: the high ground, on the other hand, was james cameron’s first pass at an avatar sequel script. it doesn’t appear that cameron altered the trajectory of the sequel for budgetary reasons, but rather due to a combination of just deciding to break the story differently and possibly technological breakthroughs in convincing underwater cgi? regardless, rather than wasting his first script idea, a decision was made to adapt it into a series of three hardcover graphic novels.

the resulting comis are… honestly not great, immo? i’d actually say this is my least favorite avatar comic i’ve read so far. like, even adapt or die which wasn’t great at least felt like it was something different? this felt like “avatar 2, but worse.” and repurposing it as a prequel is also kind of fraught because they obviously had a lot of the same storytelling goals in this version of the sequel so you end up with weird stuff like jake & meytiri’s kids running through what should’ve been their parents’ entire budget of “telling them to stay & wait in a place, them not listening & getting kidnapped” patience before the first movie? like, when the kids first get captured by blue!quatritch in the sequel, it’s this big shocking moment, but imagine if they had just been kidnapped & daringly rescued, like, last week? it would totally change how that would feel, right? there’s a very real feeling in the movie that this is the first time their innocence has been challenged like this.

… come to think of it, that’s actually another parallel with splinter of the mind’s eye? because towards the end of that book, luke has a lightsaber fight with darth vader, and when splinter of the mind’s eye was still considered canon that just made it really awkward that their confrontation in the empire strikes back was clearly supposed to be the first of its kind? i think this comic is just avatar’s splinter of the mind’s eye. i think it’s best to just pretend it doesn’t exist, because it’s definitely not going to impact the movies–i mean, no one’s really thinking “this is awkward becasue splinter of the mind’s eye got there first” when they watch empire, right? but it just makes the high ground pretty unsatisfying at the end of the day.

even ignoring those sorts of issues, it’s also just super obvious that this story wasn’t intended for a comic book format? it’s just a series of honestly pretty flat action scenes that don’t really translate all that well on the page. and it isn’t helped by the fact that the art, while pretty enough to look at, doesn’t actually do a great job of conveying the action in a way that’s painless to follow? it’s sometimes hard to tell characters apart except for in extreme closeup. so yeah, on the whole, really not a huge fan of this one, unfortunately.

c-rank

#avatar #james cameron's avatar #avatar comics #comic review #reviews #comics

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shirkers2018dirsanditan · 1 year

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my final oscar analysis i think because i need to go to bed on time but i think without avatar and top gun, next year’s oscar race might look more like the previous years. to my knowledge, right now, this year doesn’t have any comparable potential blockbusters down the pipe (oppenheimer is the biggest so far; i’m sure marvel will release something but those are completely irrelevant, and creed III is unlikely to be very relevant). tonight’s wins were very hollywood (for example, both screenplay winners were the WGA winners; the russo brothers won best picture; jamie lee curtis and former blockbuster supporting star ke huy quan won; former mainstay mid budget movie lead brendan fraser won; wins for blockbuster sequels to avatar, top gun, and black panther; acting winners matched SAG winners exactly; etc).

we had been on an underdog streak, but also last year’s winner was like the least watched best picture winner in a long time. this year over corrected for that in a dramatic way, but i don’t think it’s sustainable unless 2022’s film ecosystem is recreated. and as it stands, it won’t be.

#curious to see who emerges #oppenheimer probably #and whoever wins at cannes

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wellthatwasaletdown · 2 years

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They must really see potential in My Policeman to have it as a theatrical release!// I think even if the films shit they’re guaranteed some ticket sales because of Harry’s fan base. It not exactly a high budget film so they should make their money back easy with a theatrical release. This type of film doesn’t need to have blockbuster type numbers for it to be successful so this one will be a easy “win” for Harry.

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cyarskj1899 · 4 months

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2023 had some great movies and these were not it. What film did you enjoy the least? 📸 Look at this post on Facebook https://www.theroot.com/big-screen-blues-the-worst-movies-of-2023-1851128563?utm_campaign=The+Root&utm_content=1703889540&utm_medium=SocialMarketing&utm_source=facebook&fbclid=IwAR33CxbYZERaYlxDXwfTFCOSdDMRbHCx359ArkGidcZsZHPNnGB-vplUkVQ_aem_AfKYJd0NEZqPDPeTTSVczEgsYrGZeej6M5Da_mfr9m3yQ7lIok6eMiEa1tJ8JE9NWPI

MOVIES

Big Screen Blues: The Worst Movies of 2023

Eddie Murphy, LeBron James, Jennifer Lopez and Jason Momoa all released films that disappointed us this year.

Stephanie Holland

PublishedYesterday

No matter how hard the studio tries, sometimes a film just doesn’t cut the mustard. Whether it’s an unnecessary sequel, a rom-com lacking any romance or comedy or a scary movie with no thrills, we suffered through quite a few duds this year. With the exception of one shockingly bad release, we’re strictly going after big budget blockbusters that had every advantage needed to be a hit. So join us for a bit of fun as we look back at the worst movies of 2023.

2 / 15

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The Flash

https://www.theroot.com/embed/inset/iframe?id=youtube-video-hebWYacbdvc&start=0The Flash – Official Trailer

It wasn’t just Ezra Miller’s off screen controversiesthat made “The Flash” a failure. It was the horrible special effects and total waste of Michael Keaton’s return as Batman. Seriously, you could’ve just given us his story and left out all of the time gravel nonsense.

3 / 15

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House Party

https://www.theroot.com/embed/inset/iframe?id=youtube-video-rwGoa7Kvt10&start=0HOUSE PARTY “Guest List”

File this under unnecessary remakes. The 1990 original starring Kid ‘n Play holds a special place in fans’ hearts, so this movie was never going to get a fair shot. It relied heavily on producer LeBron James appearing as a parody version of himself. In the end, it just couldn’t capture the charm of the original or find its own fresh voice.

4 / 15

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Shazam! Fury of the Gods

https://www.theroot.com/embed/inset/iframe?id=youtube-video-AIc671o9yCI&start=0SHAZAM! FURY OF THE GODS - Official Trailer 2

It’s never a good sign when your title character is the least interesting person in the movie. Just to be clear: We don’t need more Shazam DC.

5 / 15

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You People

https://www.theroot.com/embed/inset/iframe?id=youtube-video-pCMHc-IFAB0&start=0You People | feat. Eddie Murphy and Jonah Hill | Official Trailer | Netflix

This Eddie Murphy, Jonah Hill comedy wanted to be so smart about interracial relationships, but every part of it was awkward and cringey. Plus, Nia Long was criminally underused. Murphy also released a movie where the 12 Days of Christmas came to life, and this was somehow worse.

6 / 15

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Magic Mike’s Last Dance

https://www.theroot.com/embed/inset/iframe?id=youtube-video-pBIGdw-BRxw&start=0Magic Mike’s Last Dance | Official Trailer

In a year overflowing with unnecessary sequels, this one may have been the worst. Not even Channing Tatum’s considerable charm could save this poorly paced, boring mess.

7 / 15

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The Last Voyage of the Demeter

https://www.theroot.com/embed/inset/iframe?id=youtube-video-6FgUUO9Ztd0&start=0The Last Voyage of the Demeter | Official Trailer

If you’re going to make a Dracula movie in 2023, you could try and do something a little different with it. Yes, this time the victims were trapped on a boat with the infamous vampire, but if we can tell who’s going to be killed and in what order, that takes all the scariness out of your horror movie. It’s awesome to see Corey Hawkins lead a big studio movie, but this didn’t do his talents justice.

8 / 15

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Ant-Man and the Wasp: Quantumania

https://www.theroot.com/embed/inset/iframe?id=youtube-video-uwTCzJkCRpY&start=0Marvel Studios’ Ant-Man and The Wasp: Quantumania | Emerald City

No matter how hard Marvel Studios tries, Ant-Man is never going to be considered a major hero. Paul Rudd is great at being the charming comic relief, but Scott Lang doesn’t have the draw to carry his own stories. It didn’t help that Kang was a much more fascinating character and we wanted to know more about him and his variants. Of course, Jonathan Majors’ recent guilty verdict in his assault trial makes the movie even harder to get through now.

9 / 15

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Rebel Moon Part 1: A Child of Fire

https://www.theroot.com/embed/inset/iframe?id=youtube-video-fhr3MzT6exg&start=0Rebel Moon - Part One: A Child of Fire | Official Trailer | Netflix

If you’ve seen “Star Wars” or any version of the “plucky rebels defeat the powerful army” story, you don’t need to sit through Zack Snyder’s latest Netflix offering. And let’s assume you also don’t need to watch the upcoming sequel.

10 / 15

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Expend4bles

https://www.theroot.com/embed/inset/iframe?id=youtube-video-DhlaBO-SwVE&start=0EXPEND4BLES (2023) Official Trailer - Jason Statham, 50 Cent, Megan Fox, Dolph Lundgren

No one has ever said, “You know what will help jumpstart our faltering franchise, add 50 Cent.” Honestly, this storyline couldn’t have been more predictable if you’d read the script beforehand. Can we all agree that it’s past time to stop it with these movies already!

11 / 15

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Shotgun Wedding

https://www.theroot.com/embed/inset/iframe?id=youtube-video-U8gz0rUzTAY&start=0Shotgun Wedding - Official Trailer | Prime Video

How do you mess up a rom-com co-starring Lenny Kravitz? The man literally oozes sex appeal and charm. Also, how do you put Lenny Kravitz in a rom-com and have your leading lady choose someone else? This Jennifer Lopez film lacked both rom and com.

12 / 15

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Vacation Friends 2

https://www.theroot.com/embed/inset/iframe?id=youtube-video-lMUu-ag9ofk&start=0Vacation Friends 2 | Official Trailer | 20th Century Studios

The first outing was a surprisingly fun romp that played on the best comedic qualities of the entire cast. The follow up did a terrible disservice to Lil Rel Howery and Yvonne Orji, giving them cringey jokes that landed like a lead balloon.

13 / 15

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Fast X

https://www.theroot.com/embed/inset/iframe?id=youtube-video-eoOaKN4qCKw&start=0FAST X | Final Trailer

It’s not that “Fast X” is a bad movie, it’s that the film showcases how the franchise as a whole has become a parody of itself. Producers are definitely using a “Fast & Furious” checklist when they make these movies, and that’s not exactly bad. However, it’s not necessarily good either. By the way, if characters keep coming back from the dead, you can’t pull the “emotional sacrifice” scene anymore.

14 / 15

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Winnie-the-Pooh: Blood and Honey

https://www.theroot.com/embed/inset/iframe?id=youtube-video-Bs-fkqZDZ_0&start=0WINNIE THE POOH: BLOOD AND HONEY Official Trailer (2022)

The classic children’s character Winnie the Pooh became public domain in 2023, which opened up the world to this blasphemous horror movie featuring the Hundred Acre Wood favorites going on a bloody rampage. Not only was this unnecessary, you didn’t even do anything interesting with it. To quote Dr. Ian Malcolm in “Jurassic Park,” you “were so preoccupied with whether or not you could, you didn’t stop to think if you should.” Apparently, no one cares how shockingly inappropriate this is because a sequel is in the works.

15 / 15

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Sent from my 📲

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denimbex1986 · 7 months

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'Does Christopher Nolan‘s “Oppenheimer” have enough heat to hit $1 billion globally? At one point, this milestone may have sounded entirely improbable for a three-hour historical drama that mostly depicts scientists talking about theoretical physics.

But sure enough, the biopic starring Cillian Murphy as the so-called father of the atomic bomb has become a full-fledged blockbuster with a fighting chance at joining the billion-dollar club. After 10 weeks of release, “Oppenheimer” has earned a staggering $926 million at the worldwide box office. It’s the third-highest grossing movie of the year, far surpassing big-budget tentpoles like Marvel’s “Guardians of the Galaxy Vol. 3” ($845 million), the 10th “Fast and Furious” movie ($704 million) and “Mission: Impossible – Dead Reckoning Part One” ($576 million).

To reach $1 billion, “Oppenheimer” needs to generate another $74 million worldwide. Though not impossible (it has repeatedly put theatrical expectations to shame, so why stop now?), this would require people to keep showing up for “Oppenheimer” over several more weeks. Global ticket sales have been declining by roughly 20% in recent weeks, better than most films at similar points in their theatrical cycles. The challenge is that “Oppenheimer” has mostly run out of steam in North America — as expected, after two enthusiastic months on the big screen — so international audiences will be key in carrying the movie to ultimate box office glory. Overseas, it’s still reliably selling tickets in China, Italy and Germany.

For box office experts, “Oppenheimer” is a film without many useful comparisons. It’s the second-highest grossing R-rated film in history, behind 2019’s “Joker” ($1.07 billion), and has played less like a grim historical biopic and more like an all-audience superhero epic. That’s thanks to Nolan’s status as a name brand, as well as his power to encourage fans to seek out the film in Imax, where it has earned $181 million.

So, even though it’s still hard to predict, sources close to the film, as well as rival studio executives, believe “Oppenheimer” will top out at a remarkable $950 million in its initial run, just shy of that elusive milestone. However, a theatrical re-release in Imax or awards attention (Oscar nominations tend to boost ticket sales) could help the film eventually cross the finish line late this year or early in 2024.

To be clear, “Oppenheimer” doesn’t need to reach $1 billion to be successful. The film cost $100 million to produce, so it is already hugely profitable to Universal and Nolan. The filmmaker receives a percentage of box office revenue, which could net him tens of millions of dollars.

If “Oppenheimer” manages to cross $1 billion, it will be the director’s third movie to do so, following “The Dark Knight” ($1 billion) and “The Dark Knight Rises” ($1.08 billion). It ranks as Universal’s biggest non-franchise film of all time and 12th-highest grossing film in history ahead of “The Secret Life of Pets” ($894 million). These stats only solidify Nolan as a box office force to be reckoned with.'

#Oppenheimer #Christopher Nolan #The Dark Knight #The Dark Knight Rises #Guardians of the Galaxy Vol 3 #Fast X #Mission Impossible Dead Reckoning: Part One #Oscars #Cillian Murphy

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anthonybialy · 1 year

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Bank on Failure

That feeling of depression may soon be capitalized. Citizens certainly don’t seem happy despite being assured the government banned woe and offers guarantees even when it still occurs. Adding failing banks for atmosphere sums up the Joe Biden era as well as running out of gasoline on the way to buy an egg. The machine ate the ATM card and everything else.

Don’t worry about money disappearing, as any of it handed to the bank for safe watching has been secured. Now, securers will make it worthless. The system of insuring funds if mercantile depositories screw up doesn’t quite seem to deter them from doing so for some reason. We’ll have to wait until tomorrow to once again try to learn consequences.

Customers being aware of where their bills go is too much to ask, according to the loving parental figures who set our curfew and dole out our allowance. You couldn't just patronize an institution that had sufficient insurance in addition to unchained pens to steal in the lobby. Government will take care of it. For the record, that’s the same government that oversaw the collapse.

Your checking account sponsors just need to print more cash. Don't they know how Democrats fix the budget? You’d think currency warehouses might monitor fiscal news.

The federal behemoth is way smarter than some company that exploits by offering services to customers who can choose which outlet seems the most reliable. Remove competition for benevolent efficiency. Banks would never act recklessly knowing taxpayers will be forced to pick up the tab if they go the way of Blockbuster. Dim conglomerates don’t just go into more debt when their schemes fail.

A figurative train wreck accompanies numerous literal ones. The rails have been busted for a couple years. The predictability of financial morass exacerbates broken fear.

Everyone is rich, which is why everything is so expensive. The actual term is costly. This White House is as imprecise with synonyms as everything else. Trying to make people wealthy without creating it is precisely the sort of solution expected from useless politicians who can’t imagine another way. How would a person ever generate value?

Banks struggle with banking. A ghastly pecuniary environment wasn’t punishment enough. There’s nothing Democrats adore like demonizing those who cope with their wretched policies. Connoisseurs of phony empathy pretending to care about others achieve the precise opposite. It brings to mind wrecking the economy they claim to fix.

Individual responsibility is only cool to bullying authorities when it’s other individuals facing the aftermath of irresponsibility. Passing along blame is like excusing away shoplifting while police are handcuffed as perpetrators spew sob stories about feeding starving families during coincidentally rotten times. Oh: they do that, too.

The interest rate bonanza wasn’t as fun as advertised. It turns out their increase may be bad. I thought high percentages were favorable, but that only applies to certain categories like growth. All this money business sure is confusing.

A bad kind of increase is a response to inflation, which by uncanny coincidence kicked into high gear when Biden got what he wanted. Corporations despise America’s Grandpa so much that they subdued greed until after his inauguration.

It’s clearly not Biden’s fault that everything broke in multiple ways upon his ascendancy to the final office for which he’s unqualified. The lack of blame explains why he’s fleeing questions about troubled accounting like it’s Afghanistan.

The only thing worse than the incumbent ducking the media is him facing them. A lifetime politician who spent most of those very useful hours in the chamber noted for discourse can only stammer about how mean Republicans wanted to remove regulations. Meanwhile, every quasi-legal harassment remains in place. Control freaks will claim there’s still too much liberty left, which is the millionth example of liberalism failing because more autonomy needed to be confiscated.

Who’s in charge here? Those presiding over foundational disintegration blame the predecessor. Executive minions might not have answers as to why everyone suddenly can’t afford anything, but they sure got talking points in order. Kvetching about relaxed regulations from the mean previous tycoon from that other party gives him imaginary power he wish he maintained.

The current office-filler is more than halfway through his term, which is a surprise to him. Based on the precedent of blaming the predecessor, Biden can’t be a good president until he’s out of office.

A president born just after the most prominent downturn indulged in the icky sort of nostalgia. Fibbing about what drags down hopes of ever filling a pantry comes naturally to those who artificially restrict the mildest optimism.

Change specialists know they can screw up. Give credit to bailouts from the same entity that imposed onerous austerity. Test subjects naturally react to incentives imposed by a regime that discourages noticing them. Perverse federal tampering causing chaos is naturally exploited as a pretense to impose more. How else are we going to fix this?

Sand castles are more durable than Biden’s concrete notions. Uninhibited markets must be to blame, declare its foes who constantly interdict on voluntary mutual exchange. The chance to invest without trepidation uncannily disappears when consumer options vanish. Atrocious notions will persist long after the memorable pain of a forgettable term. It’s nice to leave a legacy.

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horsemains · 2 years

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Lightwave 3d modeler network thing

LIGHTWAVE 3D MODELER NETWORK THING SOFTWARE

LIGHTWAVE 3D MODELER NETWORK THING PROFESSIONAL

LIGHTWAVE 3D MODELER NETWORK THING SOFTWARE

Still, SideFX provides Apprentice, a free version of this software that hobbyists can easily use, artists and students in non-commercial projects. The non-standard workflow and power of Houdini can be complex. The problem-solving abilities of the software were somehow more advanced than other software. The 3D modeling software provides traditional tools which allow the artist to use polygons directly on the screen. The node-based approach of the software provides artists unprecedented power, control, and flexibility. It is responsible for making 3D imagery in the CG industry. This modeling software helps in making blockbuster VFX. The software helps the artist to create snapshot 3D and convert alpha-based or grey images into 3D models. This ZBrush software uses pixo technology to store orientation, color, lightening, and depth information related to things that play a role in making things on a screen. Various artists prefer this software to create action figures and print toys with the help of its tools, particularly made for 3D printing. The app is not only used for modeling and sculpturing, but students or artists can also make paint textures and UV maps with the help of this software this also enables seasoned artists to make an entire figure with props and clothing, which is then ready for rendering. Now you can practice 3D modeling every day to become proficient in it. The user interface and workflow, which can be very difficult for beginners to understand, are made easy with the help of this software as it functions in a non-standard fashion. The latest version of the app shows that modern tools gradually improved the hard-surface capabilities. Students or artists can use this standalone modeling and sculpturing app for creating organic forms. This software is considered ideal for 3D modeling. With the 3D modeling software, you can bring believable characters to life.

LIGHTWAVE 3D MODELER NETWORK THING PROFESSIONAL

This professional software helps in creating realistic and blockbuster effects. It can make the animation making easy for you. Those people with time, patience as well as skills to become a master of the platform can make use of the best 3D tools available at Maya, which is a sound investment. Still, this power requires a price tag that it should match. the extensive functionality of the platform would immediately fulfill your needs. The vat feature options include fluid simulations, solid body physics, character animations, tools for hair, particles, etc. The software is perfect for lightening, texturing, modeling, rendering, etc. When experts tested the app, it was found that Autodesk Maya contains quality features, and now Maya 2022 provides even more exciting options. Beginners cannot use the platform as the app's tools are complex and require time to master. The industry standards contain CG disciplines the platform offers easy access to effective tools and features. It is a 3D modeling software having an industry-like standard, and this 3D modeling software will occupy a high position in the ranking done by the artist. Many free 3D models and free textures are available so that you can have the best outcomes. With a tight deadline, you can use the pre-made 3D modeling software to efficiently and effectively boost productivity. Therefore, the 3D Modeler can choose which option will fit for style and approach. For an experienced software modeler searching for some workflow refresh or those new in the 3D world, in case of infinite budget or zero money, we will provide you with the best 3D modeling options and details about how each chosen platform works. Various 3d modeling software is available for different needs. Currently, 3D modeling software is accessible, and most are free learning to use this software doesn't cost anything. Expertise in well-known tools helps in getting ultra-competitive results. The best 3D modeling software can elevate CG skills and develop show-stopping art.

#Lightwave 3d modeler network thing

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