the VGAs is just one big commercial & trailer fest that barely even focuses on the awards portion but damn it's good to see BG3 sweep
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i love murder mysteries that don't try too hard. realism who cares about realism, a billionaire was murdered in a swimming pool and diamonds are hiding in the champagne ice bucket. here's an abundance of clues, we got initialed handkerchiefs and smashed wristwatches galore, they're all red herrings but gosh they're fun to decorate with. alibis, no one has an alibi, or everyone does and they're all about to tumble like a house of cards, don't overthink it. you want to GUESS the murderer? FUCK OFF, we'll get there when we get there, just enjoy the ride you hussy!!! provides a nice alternative to true crime's voyeuristic "this normal real-life woman you never met was brutally murdered and the guy who did it will never be caught or punished"
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Thank you for leaving these tags @pharawee! Without getting into any speculation about how Dead Friend Forever will actually end, I do want to address your question and talk about why most of us want to see severe consequences for these boys. The short answer: it's about genre expectations and the psychological catharsis of a good revenge narrative.
To get down to the really basic point: people who love revenge thrillers love them because they are a fantasy construct in which good people survive and bad people get what they deserve. In a world where bad things happen and we rarely have any control, a good revenge story can be exhilarating, giving you the feeling that justice prevailed, villains received appropriate comeuppance for their wrongs, and the protagonist seized control back and experienced much needed catharsis for their suffering. Real life is very much not like this, which is why it's such an appealing genre of fiction.
So how do we calibrate what "appropriate comeuppance" means? This is where genre expectations become really important, because the genre the revenge narrative plays out in sets the terms for where that bar sits. In The Glory, a recent world class revenge drama, we were in the psychological thriller genre, so revenge came in the form of Dong Eun playing mind games with her bullies until they destroyed their own lives. No murder necessary. Dead Friend Forever, however, is in the horror genre, and specifically began its story by planting itself in the slasher subgenre, giving us a masked killer and setting up expectations that these boys are being hunted. When you watch a slasher, you come in with the mindset that most of the characters are going to die and begin rooting for it and looking for reasons why they "deserve" it. And typically, in a slasher, it takes very little for a character to "deserve" a death--you often see people die for the tiniest infractions, like making a rude comment, telling a bad joke, or having sex. But DFF went much farther than that and gave us a multi episode flashback in which we got a detailed accounting of every wrong this group of boys committed against Non, increasing the audience's bloodlust and conviction that these boys needed to pay.
So why do so many of us want the bullies to die? Because the genre demands it, and the story set the audience up to expect it from the outset. I have seen some discussion of the way the show is blending different horror subgenres and not sticking strictly to typical slasher conventions, and that's true, and expected. Slashers are usually two hours max, and this show needed to fill 10+ hours of content, so it's doing a really interesting blend of slasher, mystery, psychological thriller, and other horror subgenres. But the bones of the story still hold, and despite the storytelling choice to give the villains some nuance and fleshed out motivations for their behavior, they are still villains who destroyed Non's life. If you're feeling overly sympathetic to any of these boys at present, I encourage you to go back and remind yourself how they behaved in the early episodes of this story, which took place after the events of the flashbacks. These are not genuinely remorseful kids who made minor mistakes and then got their acts together and became upstanding citizens; they just want to move on and avoid blame and accountability for what they did, while Non's entire family was irrevocably destroyed by their actions.
If this story ends without Por, Tee, Top, Fluke, Jin, and Phee suffering genre appropriate consequences for their choices that harmed and betrayed Non, it will be a letdown and many will feel unsatisfied. In real life, we may believe that forgiveness is the right path, and we know that Buddhism teaches unconditional forgiveness. But this is not real life. This is a fantasy genre that is specifically meant to provide an escape from the constraints of real life morality and obligations. No one wants to show up to a fantasy party only to receive a moral scolding. The most disappointing thing a revenge narrative can do is wimp out on delivering the actual revenge.
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Highlights of Glass Onion
1-Daniel Craig’s terrible southern accent
2-Daniel Craig as Benoit Blanc playing Among Us in his bathtub again Angela Lansbury and Stephen Sondheim
3-“it’s so dumb”“It’s so dumb it’s brilliant”“No! It’s just dumb”
4-literally the whole movie is about how dumb Elon Musk is. Also Zuckerberg. And whoever the fuck the other billionaire is. But also definitely Elon Musk.
4-Benoit Blanc is so clearly gay in such a casual way I love it
5-Janelle Monáe
6-The very clear messaging of ‘you will never take down a person like this through the legal ways so just beat the shit out of them until something gives’
7- everyone is clearly having the time of their lives making this movie
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i think part of what makes the fallout setting so compelling to me is that, personally, the very, very broad strokes of the world aren't interesting to me, but the closer you zoom in on it the more fascinating it becomes. i think it serves as a really compelling foundation for genre fiction because it has so much to pull from. the regressive politics and pop/pulp culture of an exaggerated hyper 50s and the atomic age, and the desolation, black comedy and wry optimism of the post apoc. i wrote a hardboiled noir, but that's only because i like it the best. for fan projects not beholden to hundreds of millions of dollars being thrown around, i think it has strong enough bones to support almost anything you throw at it. spaghetti western, creature horror stuff, crime dramas, because it was built on all these things in the first place. in my ideal world, i'd love to see an honest to god hollywood golden age wasteland musical played completely straight
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Tracklist:
Intro
Dead Hearts
In The Room Where You Sleep
Buried in Water
My Body's a Zombie For You
Pa Pa Power
Young & Tragic
Paper Ships
Lose Your Soul
Werewolf Heart
Dead Man's Bones
Flowers Grow Out of My Grave
Spotify | Bandcamp | YouTube
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