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The new Geralt trailer from the witcher netflix show looks pretty damn good. Surprised how much I liked it. I was hesitant about superman as Geralt but it looks like those worries might not be warranted. 

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‪Thanks to everyone who has reached out, liked and shared posts, or followed me this week because of EastSiders on Netflix! I adore you all. 🌈❤️‬

‪Listen to the entire EastSiders series soundtrack on Spotify here: https://open.spotify.com/playlist/7AP9aOF5SLay6guKD3tZal?si=2y9ndX4NTr6XQ6RAFl0IDg — and OMG go watch the show! ‬

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This might be an unpopular opinion but… can I just say I HATE the “Television is dead, streaming is the future of entertainment!” mentality? Whenever people say that, it drives me mad, mostly due to how flawed of a medium streaming is.

Not only is there a massive over-saturation of streaming services, along with the fact that it’s caused piracy to rise, but many of them in particular such as Netflix and Disney Plus have rather questionable business practices, such as the fact that Netflix’s CEO wants people to stop sleeping and only watch their shows all day.

That and whenever YouTubers say that streaming is the future, not only do they act like the demise of television is absolutely confirmed, but many of them only say that because they’re paid by the streaming services to say good things about them as a means of advertising them.

They basically try and discourage people from watching television so they can make them subscribe to their streaming services, ignoring the dilemma of choice paradox and the fact that there’s too many streaming services available in the market, thus making people not want to pay a monthly subscription for all of them. This in turn has caused piracy to be on the rise because people don’t want to pay for all these streaming services.

Remember last time a medium was over-saturated with too many options? It was called the Video Game Crash of 1983, because video games went through the SAME phase, and it almost killed the medium entirely had it not been for Nintendo setting up stricter rules as to how the industry should work. If the big corporations in Hollywood weren’t so over-confident about streaming as a medium and constantly shoved it down everyone’s throats, this wouldn’t be a problem.

Problem is the big corporations are far too greedy and only care about money, not seeing the problems in their mentality because pride has consumed them.

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Directed by Noah Baumbach

Rating: 97/100

Baumbach’s latest feature is a masterful exploration of love from its darkest vista: divorce. Nicole (Scarlet Johansson) and Charlie (Adam Driver) are a thespian couple on the verge of separation. Charlie is the director of a highly regarded theatre group, whilst Nicole is his muse, an actor who shunned the big screen in LA, in pursuit of loftier artistic ambitions on stage in New York. Although, both have a desire for the divorce to be executed as amicably, smooth and rational as possible, they soon discover that conflict is inevitability of the process - the biggest stickler being the custody of their son Henry (Azhy Robertson). Throw in a slick-talking and a not so slick talking lawyer (Laura Dern and Alan Alda), adultery and a MacArthur Grant into the equation and, suddenly, they find themselves in an uncontrollable mudslinging war.

The film opens with twin montages accompanied by the alternating narration of Charlie and Nicole. Both characters in their own idiosyncratic way explain the lovable idiosyncrasies of the other. It then cuts to the pair sitting in a mediation session with a therapist. The list is part of the separation process. Nicole is unable to read her list, Charlie is insistent they embrace the task (as does the therapist). The session inevitably collapses without any conciliatory penetration. It is a scene which in a way encapsulates the arc of the narrative. For, Baumbach is very cautious not to create monsters of his characters, but to skilfully and humanely dissect, with a deft tenderness rarely seen in cinema, the social flaws, psychological hang-ups and bureaucracy which leads his characters down the thorny path of manipulation and mutual loathing.

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It is not that Charlie and Nicole are unable to talk to one another. In fact, their dialogues are measured, articulate and often honest. However, as the film develops it becomes clear that they have lost the ability to communicate with their hearts. They find themselves talking in a peculiar and polite doublespeak - mostly, one suspects, for the benefit of their impressionable son. Unable to express the inexplicable through dialogue, Baumbach uses the physicality of the actors, or the vacuousness of the setting, to puncture the veneer of liberal propriety and ideals which obfuscates the emotional anguish suffered by both of the characters: a glance of recognition, a sympathetic or intimate touch. Through the art of showing and not telling, Baumbach begins to trace the causation of the romantic breakdown. As the audience starts to acknowledge the mechanics and failings of the marriage, the characters simultaneously discover them too, leading to series of revelations and resolutions which help them to grow closer together as they move further apart.For Marriage Story is really a tragedy of the romantic illusion of marriage: A symbiosis which requires a permanence untenable in a world of shifting dreams and emotions. Despite this, Baumbach’s film is not a dreary affair like its superb, distant relative Blue Valentine. Baumbach finds a perfect balance of levity and earnestness, which is executed with supreme impressiveness by his two leads. It is the kind of film that brings tears of joy and sorrow, sometimes, at the the same time.

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