Super Mario Bros is a 90’s dystopian cyberpunk masterpiece. If you’re complaining that is wasn’t “true” to the interlaced 8-bit game you’ve totally missed what makes that movie work. It’s a pretty fucking bizarre take, I’ll grant you that. The new movies were great, but they lack the weirdness and have been polished into boring lumps of nostalgia that are quickly forgotten. Nobody that watched the 1993 Super Mario Bros movie as a child forgot it.
This is way too coherent.
Cab Calloway was a legendary band leader in his own right, far beyond his minor role in a Saturday Night Live sketch turned cult classic. His picture belongs in the encyclopedia for skat.
The band was playing a bunch of songs before the brothers arrived, the brothers just performed the “last two songs”. We see Cab Calloway warming up the crowd with one of those other songs. It was all for a good cause and I’m sure the outlaw nature of the duo was no surprise to anyone. We as the audience are “in on it”, seems safe to assume the on-screen audience is kind of “in on it too”. “Orange whip? Orange whip? … Three orange whips.”
So much safer to go one album at a time using Picard. Picard makes it easy to go down the list of a disorganized directory, identify most things automatically, allow in depth review and modifications to what Picard came up with, and standardize file naming. I’ve tried to let programs like Lidarr and beets automate it, but they always ends up causing more and more complex problems to discover and solve after awhile. Music releases are complex and sources are diverse, using distinct standards of form and format. It’s not a problem that can realistically be solved for my entire music library without the guiding hand of a librarian. I could listen to my library for over six months without repeating, even 1 album out of a 100 mis-tagged or misidentifyied could take me years to discover.
I do like to automate the less critical and more machine oriented library tasks like adding genres tags, replaygain, and lyrics as you do. Just not things like the metadata tags, file naming, or album art (embedded or otherwise).
For me the wildest aspect of the Hyperion portals was that there was essentially only one portal. Hyperdimensional godlike artificial super-intelligences swept the portal across each doorway like some sort of cosmic lighthouse, mimicking the theory that there only exists a single electron in the universe that travels backwards and forwards in time to be every electron for everything everywhere all and once. Also, those articlfical intelligences shared their environs with other older beings referred to as “Lions and tigers and bears.”
This is one of those movies that I feel like I’ve already seen because I watched a trailer in a theatre that one time. Genuinely, my first reaction to this post was, “Didn’t I just watch that movie, how can it be releasing in November?”
I mostly go to cinemas to see films that look and feel better in a theatre. Comedy can also be great in a theatre with a good crowd. Laughing along with other people is cathartic. For me comedy is embedded in good writing and editing, but not always fully there is comedy for comedy’s sake. In other words, I find myself laughing more, and harder, at funny moments in movies that don’t label themselves comedy. I get bored with action movies that take themselves too seriously the same way a movie that a comedy without anything else going for it can wear thin. And the crowds are thin, so going out to laugh with others is often better done at a comedy club or casino than a movie theatre.
I don’t think comedy is dying. It’s just that, for modern audiences that can watch anything that was ever distributed on-demand, all the low hanging fruit has been plucked. The same old slapstick, schmaltzy rom-coms, and body humor may still bring in some, but it’s far from unique or compelling enough to bring in the crowds to what is an increasingly overpriced and underwhelming experience at the theatre. Action, adventure, sci-fi, etc. will always benefit from advances in technology, so that old stories and cliche writing feels shiny and new. Dramas are a showcase of directing and acting skills, so old scripts can come back to life. But the writing of comedy and wit stands alone, benefiting very little from advances in tech or trending celebrities.
Looks like Exo-squad.
Is the word in English that you’re looking for rouse? Or rousing? As in “Julica rouses”. Or “Julica - rousing” so the dash makes sense again. There’s also Reveille or The Rouse for the morning bugle call.
I’m seeing this post for the first time, sitting at -30. I’m seeing it and yet it’s pretty heavily down voted. I’m not browsing by controversial or something like that.
Anyway, downvotes don’t really work the same way to hide unpopular posts the way you’re used to reddit doing. People aren’t enjoying it and are in fact still seeing it, so maybe just check yourself before getting hostile.
So what? How does that matter? It’s not as if that’s how generations work.
It’s kind of funny to see all the hate for a company built on rebooting old stories for a modern audience getting flack for continuing to reboot old stories for a new generation. Are y’all just angry that it’s “your” childhood nostalgia that’s no longer profitable or popular with the literal kids these days?
Disney’s not even the only one to do it, people tend to love that shit and examples abound of your favorite nostalgia IP not being the original telling of a story. No denying that Disney’s choices here are entirely profit driven. But pretending like this is a new thing Disney is only doing to your generation’s nostalgia is disingenuous at best. Maybe just judge the reboots the way we judge cover songs or genre “standards”. Whose going to fault Johnny Cash for covering NIN? Or Nina Simone performing a song also sung by Billie Holiday, Sarah Vaughn, and countless others? Do they add something? Do they re-work it into their own style? Reevaluate elements? Re-frame perspectives? Adapt problematic historical culture pastiches and norms for a modern moral perspective? Maybe they just fix the pacing of a story for a new audience or a new medium. The Lord of the Rings trilogy was by no means original, not even the first movie to be made made on the story, but nobody faults it for that. Same with Dune. Same with literally and stage production before the invention of motion pictures.
DISCLAIMER: This statement is in no way meant to be, nor should it be interpreted as, an endorsement of any of Disney’s business practices past, present, or future. This new movie might be shit, but it won’t be because it’s a story that’s been told before.
Wow, if the demo was too much for the developers to maintain that doesn’t inspire confidence in my patience to maintain it on my machine.
No denying that I often interpret things in a comically literal way. No offense taken. Farts are funny.
This comic wasn’t particularly funny to me to begin with. The above dissection is why. This toad was dead on arrival.
The punchline implies that assumption or parallel processing. It must because it’s inconsistent with the common rules of the myth. Wishes are commonly executed in series, not in parallel, which is impicit in the syntax of the first, second, and third wish. So that assumption of parallel wish processing isn’t even consistent with most of the language of the comic or with the final panel.
Which one, 1944 (staring Cary Grant) or 1969 (with Bob Crane in the same role)?
1944 or 1969?
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