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Serious Movie Discussion XLI

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Hey @Dragonlordxxxxx: After just going through all of Family Guy and South Park back-to-back, I figured the next logical step would be to run through The Simpsons (apologies in advance for this, @europe1, but I've never actually watched an episode beginning-to-end in my entire life). Before I tackle 600 more episodes of animation, though, I wanted to take a break and spend some time with some real people, so in the interim, I've decided to rewatch Battlestar Galactica. I only watched it the one time way back when you picked the miniseries for me in the first movie challenge, and while I remember really liking it and then blasting through the show, I'm halfway through the miniseries right now and I'm fucking riveted. I forgot just how awesome this is.

Butters' Bottom Bitch really is truly hilarious. I completely agree with you that the latter half of South Park has been superior to the first half. To me, that is the mark of why South Park is on par with The Simpsons. As I've said, The Simpsons' best episodes are superior to any other animated show by a fairly significant margin I'd say. But it's been like fourteen years past its prime. There have been some decent to good episodes post-2004, but I think they are just not nearly on the level of the peak years.

It's funny, to me Butters' ascendancy signaled the transition of the show to a superior level. Butters' Very Own Episode is, in my estimation, the funniest episode of the 5th season and it's the first time that he is really front and center as a character. That leads to the 6th season where you have that great story arc where they are first hanging out with Butters as the fourth friend but then exile him from the group and do a search for the new fourth friend, leading to Professor Chaos. Tweek was underrated as hell, too. Not only is every single episode with him as the fourth friend damn good- I love the Spielberg/Lucas criticism episode and the Simpsons Already Did It episode (seman vs. sea men, too funny)- but the first one with him- The Underpants Gnome episode- is a classic.

I also like how after season 6 they figured out ways to get Kenny involved without overrelying on the gimmick. While he admittedly sometimes just fades to the background, there has been some really funny stuff with him in the latter half of the show.

I also think Randy Marsh is one of the funniest characters on the show and it wasn't really until season 7 and beyond that he became a prominent character to the extent that he would have his own episodes.

Overall, I just think South Park is really good and I respect that it has actually improved over the years, going from very surreal/scatological to more satirical and incisive. The tendency to couch legitimate criticism and social commentary into the animated format was always there, but they definitely made the show more focus on that element than on the zaniness over the years and I think it has worked to the show's benefit.
 
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I'd almost suggest skipping the first two or three seasons and jump into the fourth or fifth seasons immediately. There were growing pains. The first seasons can definitively be rather jarring. The shows sensebility in storytelling, tone and comedy changed continiously over the years. Hell, many episodes of season 1 feel more like melodrama than comedy.

Here is a free laugh.

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For me season 1 is the only iffy spot. Season 2 has many classics and by 3, you are already in the peak years. I feel like Season 2 through Season 9 is absolute gold and 10, 11, 12 are high quality as well. After that you start to see the dropoff.
 
For me season 1 is the only iffy spot. Season 2 has many classics and

I would say that Season 2 was when they got the storytelling aspects nailed down but the humor was still a bit clunky and unironed (at times)

As for Season 1, I do think that "Bart the Genius" is quite brilliant though. Watching it at an older age, new insights become apparent. So the genius-school teacher asks the students to name paradoxes. Bart has no prior understanding of that word. The other kids start quoting ancient philosophers (if you want peace, prepear for war, etc), whom Bart also has no familiarity with. Then the teachers asks Bart to mention a paradox of his own. After about 5-seconds of mumbling, he says "You're damned if you do and you're damned if you don't".

The teacher and the genius-students see this answer as a lack of intelligence. The voice this opinion, and Bart internalizes it as a failure. However, that scene shows that Bart is quick-witted and highly intelligent. He has NEVER heared about a paradox before. The kids throw out quotes from ancient philosophers. And in the span of about 10 seconds, 4th Grader Bart has managed to discern the meaning of of what a Paradox is, and managed to pull out a quote from something he has heard in his surrounding to give an example.

"You're damned if you do and you're damned if you don't", is a perfectly valid paradox. The students and teacher just consider it a failure because he didn't quote ancient philosophers (which is unfair since Bart has no prior familiarization with those), it's basically high-brow snobbery, a failure to see the intelligence of an example comming from low-brow roots. If anything, it shows Bart to be even more intelligent than them because he manages to discern the meaning of the word and find applications for it in a social realm that is thoroughly apart from what the examples where comming from. Just the fact that he managed this on such a short period of time is an amazing feat in and of itself.

Noticing that sort of stuff in the Simpsons has blown my brain many times through the years.
 
Hey @Dragonlordxxxxx: After just going through all of Family Guy and South Park back-to-back, I figured the next logical step would be to run through The Simpsons (apologies in advance for this, @europe1, but I've never actually watched an episode beginning-to-end in my entire life).
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The Simpsons is one of my favorite shows during the early 90s. It was hilarious, clever, edgy and sweet. I don't know how the show would translate to someone like you who have been exposed to other contemporary adult animated shows but hoping you'll like it.

Before I tackle 600 more episodes of animation, though, I wanted to take a break and spend some time with some real people, so in the interim, I've decided to rewatch Battlestar Galactica. I only watched it the one time way back when you picked the miniseries for me in the first movie challenge, and while I remember really liking it and then blasting through the show, I'm halfway through the miniseries right now and I'm fucking riveted. I forgot just how awesome this is.
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Btw, the last Movie Challenge we did I gave you two Matthew McConaughey films to watch. This was I think around 2012 when MM's career didn't make a resurgence yet and he was still treated as a joke around here. I gave you The Lincoln Lawyer and, for the lols, Magic Mike. I assigned you the MM films because you disliked him at that time and to watch out for the actor because I felt like he was getting ready for a big comeback. So, did you watch those two films?
 
I know Family guy is played out as fuck, but if you've ever gotten any enjoyment out of it, you'll prolly like this:

 
I'd almost suggest skipping the first two or three seasons and jump into the fourth or fifth seasons immediately.

I can't watch stuff out of order. If I'm watching The Simpsons, then I'm watching every episode start to finish (well, start to current).


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That describes ALL of my friends.:p

For me, that only described that friend. Maybe I just tuned them out, but I honestly don't remember anyone else around me talking about The Simpsons when I was growing up.

Butters' Bottom Bitch really is truly hilarious.



I've watched these two scenes a million times. I was giving a friend of mine play-by-play as I was making my way through the series and I actually told him early on that I didn't get Butters. That first Butters episode you brought up, that actually pissed me off. Man, did I come around on him, though. I think the first time I laughed at something from him was when Stan was trying to get everyone to moon Ms. Choksondik and Butters asks if they should stand front ways or back, if they should show her their "behinds" or their "weiners." The way he says weiner always gets a chuckle out of me. And then the one where Cartman pretends to be a robot was one of the first times I was really liking him throughout an episode that was centered on him. I also love him in this scene:



I also found it funny when he was walking around everywhere wearing goggles that Cartman told him was a virtual reality headset, I liked when he was trying to be a vampire and he sneaks into Cartman's room to feed on him. It was very much a cumulative effect where he slowly but surely won me over.

Tweek was underrated as hell, too. Not only is every single episode with him as the fourth friend damn good- I love the Spielberg/Lucas criticism episode and the Simpsons Already Did It episode (seman vs. sea men, too funny)- but the first one with him- The Underpants Gnome episode- is a classic.

That Underpants Gnome episode was great. And then, more recently, I loved that episode where the Asian girls were drawing him and Craig as a gay couple. I don't like that Trey and Matt hate Phil Collins, but I love it that they like Peter Gabriel, and hearing "The Book of Love" in that episode was great (and, speaking of Peter Gabriel, I also loved that Say Anything reference where Wendy breaks up with Stan and Bebe tells him he can get her back if he goes to her house and plays Peter Gabriel, so he shows up with a boombox blasting "Shock the Monkey" :D).

I also like how after season 6 they figured out ways to get Kenny involved without overrelying on the gimmick.

Cartman as The Coon kind of sucked, but those superhero episodes were on the whole pretty good. And I really liked the way that opened up a new avenue for Kenny as the big-hearted big brother watching out for his sister since his parents suck.

Although, speaking of superheroes, I thought the funniest was when they dressed up as The Avengers for Halloween (in that episode-long spoof of The Shining) and tried to stop a robbery:



While he admittedly sometimes just fades to the background, there has been some really funny stuff with him in the latter half of the show.

I did notice that he very easily lifts out of most episodes, but I liked that boyband episode where he's dating the slutty 5th grader obsessed with the Jonas parody and then at the end he dies from syphilis :oops:

I also think Randy Marsh is one of the funniest characters on the show and it wasn't really until season 7 and beyond that he became a prominent character to the extent that he would have his own episodes.

Now this I completely disagree with. I don't think I truly hate that character, but I was always bummed when he'd eat up story time ("The Cissy" could've been so much funnier if they didn't have to keep cutting to Randy's shit), and by the time I was getting to later seasons, I'd very often just skip over his stuff.

I just think South Park is really good

Me too. It took them a while to really dial in, and even once they were off and running, there were a lot of duds (I skip-watched at least a dozen episodes throughout that were just straight-up bad), but the last few seasons have seen quite a remarkable ascent and I hope they can keep climbing.

Btw, the last Movie Challenge we did I gave you two Matthew McConaughey films to watch. This was I think around 2012 when MM's career didn't make a resurgence yet and he was still treated as a joke around here. I gave you The Lincoln Lawyer and, for the lols, Magic Mike. I assigned you the MM films because you disliked him at that time and to watch out for the actor because I felt like he was getting ready for a big comeback. So, did you watch those two films?

I watched them both.

Dragon, I watched The Lincoln Lawyer. I thought I'd read the book, but it turns out I read the second one, The Brass Verdict, so I realized quickly that I would be experiencing this story fresh. Still, even without knowing the ins-and-outs of the book, it felt like a movie adaptation, like they were rushing through the important points, skimping on character development, and keeping any reserves solely for expanding McConaughey's characterization. It made for a really disappointing movie, but as you recommended me this movie to get a better sense of where McConaughey's at currently in terms of his acting, in that respect, it was a great success. This was a PERFECT character for him, and he did a really good job with what he had. Granted, even his character was roughly sketched, but the meaty parts were all there and McConaughey really brought them to life. I loved his "too cool for school" cockiness, McConaughey is always great at that but here it was really apparent. It's too bad the script wasn't better, otherwise it would've been a much better showcase, but he still impressed, and while I'm still skeptical, I'm not quite as skeptical going into Interstellar.
So unless you're a straight woman or a gay man, I don't understand why anybody would like Magic Mike. It's just straight-up not a good movie. The script totally sucked, they couldn't decide whose story was actually supposed to be the main story but even if they could've decided they would've still been faced with the problem of all of the stories sucking, the acting sucked, the main girl sucked and wasn't hot at all, there never felt like there were any stakes dramatically, and then it just ends on the same nothing note the whole movie was at from beginning to end.

I will say, Dragon, as to the point of me watching this, that Matthew McConaughey was the best part, and he did a kick ass job with that character. He was the only enjoyable part of the movie besides Kevin Nash looking so hilariously out of place and perpetually out of sync during the dance numbers, like a clueless giant who was regretting his decision to take part in such a silly affair.

I still wouldn't call him an amazing talent or anything, but I no longer have him at the same low level as someone like Brad Pitt, who's a far better movie star than he is an actor.
 
I'd never heard this before, and frankly, I don't find it even a little plausible (first, because Phil was way too big to give a shit about what two knuckleheads with a cartoon show he'd never heard of were doing on the red carpet, and second, because Phil actually has a great sense of humor and probably would've found it funny). In any event, I've spent the last half hour going through pages and pages of Google search results and all I've found are people saying Phil talked shit about them but nobody actually providing any proof. There's even a Reddit thread where people realize over the course of it that nobody has any evidence nor actually recalls reading/hearing Phil say anything. All my Google searching found were additional instances, before and after the Oscars, of Trey talking shit about Phil.

So, you don't find it the least bit plausible, yet you spent half an hour googling it... You must really want to prove me wrong, but alas, to no avail, your efforts were for naught. :p It was 17 years ago, you're not going to find a quote online.

Phil was competing against them for the Oscar. It's safe to assume that he was asked about his competition, and probably about South Park in particular since the song was controversial. I don't find it the least bit hard to believe that he could've said something negative about the show. What makes you think Parker and Stone are lying? Later in this post you say of Parker and Stone "they don't mince words"... but here they do?:eek:

There are a lot of things that Phil Collins says that don't get entered online for posterity. He could've said something to them in private, or shot them a dirty look. Maybe he talked shit about them to another celebrity and it came back to them. The fact that you think Phil Collins is incapable of saying something bad about someone shows your bias in all it's glory... Did you see what his ex-wife had to say about him?

Anyways, the dresses say it all to me. South Park didn't expect to win the award, they think the whole celebrity culture/award show/ego-fest thing is stupid, hence their outfits. Phil was clearly very moved by winning his award, so I don't believe he shared Trey and Matt's sentiment towards the awards. Maybe he does have a good sense of humour but he doesn't think the academy, celebrities, and fashion are a joke... so why would he get (or appreciate) the joke? That's irrelevant anyways

In a way, Family Guy is actually more radical than South Park. Seth MacFarlane has taken the Larry David Seinfeld credo "no hugging, no learning" to an even greater extreme. Like the Season 2 episode "He's Too Sexy for His Fat." At the end, Lois says, "Well, Peter, I guess you learned a valuable lesson," to which Peter replies, "Nope." The end. No long moral/political speeches meant to lift up to a higher plane a town full of people so fucking stupid that they keep acting just as retarded every week as the week before when a group of 9-year-olds were telling them how to better their lives.

Family Guy is more radical, with their interchangeable-jokes and lazy approach to writing. I think comparing them to Seinfeld is totally off-base. Yes they're both shows about nothing but the humour in Seinfeld always relates to the story in the episode, however loose the story is. Larry David is great when it comes to bringing the story full-circle and tying everything together at the end.

There's no way for that not to sound harsh, but I do want to stress the point that, for as brilliant as the satire can be on South Park - and I should mention that I have now seen every episode ever made from beginning to end and consider this most recent season BY FAR the most brilliant and the funniest, yet the criticism I'm about to make applies just as much to this last amazing season as to earlier, not-so-amazing seasons - the internal logic of the show makes absolutely no fucking sense. Unless the residents of South Park are literally retarded, the depth of their stupidity - especially when juxtaposed with the lucidity and eloquence of the little kids - is such that it's hard for me to reconcile the lofty ambitions of the show with such basic incoherence and silliness.

Now we're at the meat of the problem here... What you say "makes absolutely no fucking sense", makes 100% perfect sense to me and it's the main thing that makes the show so fucking amazing to me...

It's not easy to explain, at all.

I mentioned that the South Park-Family Guy episode was the exception to the rule. Kyle and Stan represent Matt and Trey (the sane ones, the left wing) and Cartman represents the right/the far right/the media. Well, the townspeople represent the ignorant masses, the kind of people who believe what they hear on the news, who go to church, raise the flag and fallow the laws. It's satire.

Judd: Who are these characters based on? How about Trey first.
Trey: Roughly, I’m sort of Stan and Matt’s sort of Kyle, and we’re both sort of Cartman in a lot of ways. I’m really fat, and Matt’s racist, so together we’re Cartman. Everybody else is a fragment of a person that we know in some way or whatever.

http://www.writeonjudd.com/portfolio/interview-with-south-park-creators-matt-stone-and-trey-parker/

Clearly they're joking about Cartman, neither of them are really fat, or racist. But America is the fattest nation, and racism is still a HUGE issue in America, which should tell you who they really base Cartman on, since he's the only character that's not a fragment of of a person they know.

In the episode where Chef is trying to change the racist flag, and all the dummies on the news are just repeating what they're told, they all say "yeah the flag is racist, but it's history"... that's the kind of shit you see on the news all the time. That's how the media portray issues. they make them seem complex when really the issue is as "black and white" as they come, pun intended. Those people that repeat what they're told and can't make a decision even though it's so obvious... they are the townspeople. To someone like Chef, it's ridiculous that they can't see their own hypocrisy... There'an NFL team called the "Redskins"... How about I start a basketball team and call them the Blackskins... it's "retarded" that people don't see how racist that name is.

It's not that Kyle and Stan are smarter than everyone else, they're just more informed, they make the effort, they do the research, they don't watch the news or read the newspapers either, they form their own opinions. The rest of the characters are ignorant and indifferent to any topic, unless it's on the news, and then they just pick one of two sides. You don't think masses of people do that in real life? No one has the time to research everything for themselves, and most don't bother to research at all.

Have you seen the documentary "Bowling for Columbine" by Michael Moore? It kind of explains things. It's a documentary about two high school kids in Littleton, Colorado...(where Matt Stone grew up. South Park is partially based on that town) The kids were a couple of "rejects" that liked metal and video games, the bullies picked on them, the girls ignored them, everyone judged them, they were outcasts, they had no future (or so they thought) so they shot up their high school and then killed themselves.

Here's how the media covered the story.

They blame the parents, heavy metal, violent movies, South Park, video games, television, entertainment, cartoons, Satan, society, toy guns, drugs, but mostly Marilyn Manson was blamed. The killers listened to Marilyn Manson... The killers left suicide notes... they did it because the kids at school "picked on them, chose not to accept them, and treated them like they weren't worth their time" He also blames the teachers for allowing it to happen, as well as parents that raise bullies and socially-aspirant, geek-shunning ass-holes.

Those TV networks that put out that news in all it's scapegoating glory, also make most of their money from TV shows, and often the same people who own the networks own or have their hands in movie studios as well. That's Hollywood, they're part of the media as well, blaming South Park and Marilyn Manson instead of society, that same society whom the media have huge influence over... that's not just a coincidence. And Phil Collins is working for one of the biggest and most deceptive of all the companies, Disney... I don't share your sympathy towards him over South Park using him to get back at the academy. Phil didn't mind the academy using him to get back at South Park for trashing them and their values.

Remember what the point of Bigger, Longer, Uncut was... Cartman overcomes Saddam by swearing at the end... Their point was violence is worse than swearing so let them swear on their show you uncle-fucking bastards. Let all shows swear. South Park is fighting for a better world, they're trying to tear down the mass of ignorance surrounding "foul language" They hate censors with a passion. The academy ignoring the logic of their song is what pissed them off. They were fighting to change the perception of foul language, yet they lost because the song had foul language in it... All they're work was for nothing, even though kids are smart enough to see it, the adults aren't. Phil is not the issue to them. They have much bigger targets than Phil, lmao.

Funny that no one in the media chose to examine the topics that the kids listed, they all chose to make up their own scapegoats to blame, as a way to further their own ignorant political beliefs. Those media members are the townspeople in South Park. You see those protesters (in that clip) the ones that have no clue what Manson represents but are protesting him... they're the townspeople. The people who voted George W. Bush back into office, those are the townspeople. Ignorant and naive. The people who can't find their own country on a map, The academy, Tom Cruise, Scientologists, people who vote, they're the town. South Park is symbolic satire, you can't just take it literally.

I haven't seen it in 10-15 years but In the documentary Moore interviews and plays clips from celebrities and members of the media. He asks them what advice they would've given to the Columbine killers if they could've talked to them before it all happened. Matt Stone gave the best advice out of everyone. Marilyn Manson was the only one intelligent enough to realize that the kids didn't need advice, they needed validation. The scapegoats are smarter and more-righteous than the finger-pointers. The point of the documentary being that the counter-culture (which kids follow) raises smarter people than mainstream culture, lead by a media owned by billionaires (do the research, it's true) with it's rigid rules that one must adhere to or face social backlash.. South Park agree, even though they're not big fans of Moore, lol.



The song "Blame Canada" was a joke about how Americans always blame others for their problems, and never look in the mirror. It's about how they blame scapegoats instead of looking at the facts. It's a statement on America's ignorance. It's sung by the townspeople in South Park... they're ignorant protesters blaming foul language for the worlds problem while war is being waged around them, and amorality runs amok.

Family Guy, by contrast, is explicitly about a stupid man who who fights tooth-and-nail every last learning experience. Thus, the situations in which he finds himself have more internal coherence even if they don't aspire to same height of social commentary. And since Family Guy isn't trying to do what South Park tries to do, I'm not going to consider it a failure. It's just different. And, for me, it's significantly funnier.

I never said it was a failure. They do cover social topics, but if we're talking height of social commentary, it's not exactly penthouse material (pun intended) They did do the episode about seceding from the government, that was pretty cool. South Park covers topics that no else does like gentrification, NAMBLA, Scientology, country music exploiting 9/11 memories for financial gains... that's important work, and the fact that it's honest, responsible humour makes it that much funnier and enjoyable to me. It makes it humorous for me on multiple levels. While Seth is out schmoozing with a-list celebs, the boys from Colorado are pissing off anyone who tries to lower the bar even further, they don't care about stepping on toes.

I don't think Seth is a bad guy, not at all, American Dad showed his true feelings. I just think South Park is much better written, and Parker and Stone are using their power for a greater good, unlike Seth.

Why should South Park pay tribute to other artists like Seth does? South Park doesn't take inspiration from them.

Are you saying Peter's mistakes are a learning experience for the public... If so then is the general public really any less "retarded" than the townspeople in South Park. Is the public unaware that making your own helicopter that looks like you and then trying to fly it without any lessons is a bad idea?:D:pFill me in on some of the lessons Peter has taught you? I'm not sure what you're trying to say there.

Family Guy does 3-4 minute musical numbers, that they're just copying from movies/videos. They showed a Conway Twitty video for like 4 minutes straight, much to Twitty's dismay. That's the definition of lazy writing. The knee-scrape thing was funny the first time, but stretching jokes on for that long still, it's lost it's zip.

All of that said, I will say that the second half of South Park is far superior to the first half. I didn't like Butters initially and I didn't get why they were giving him so much story time, but he grew on me to the point where "Butters' Bottom Bitch" is probably my favorite episode of the whole show ("Do you know what I am saying?"). I also really hope they keep up the serialization, as these last two seasons are MILES beyond anything that preceded them. All of the PC shit (anchored in the latest season by that Ex Machina spoof) was both hilarious and incisive (if it weren't for all of the Randy side shit, "The Cissy" would've been my favorite as everything with Cartman in that one was killing me ["Suck my clit and balls"]) and the way they developed that storyline over the ten episodes was excellent.

As of right now, South Park is operating on a smarter and funnier level than Family Guy, but overall, when it comes to which show is funnier, Family Guy is way out in front.



The Simpsons doesn't count because it predates South Park. Trey and Matt respect and acknowledge the influence of The Simpsons. That said, another reason they don't have a problem with The Simpsons is because, and they've mentioned this in some of the behind-the-scenes shit I've watched, there have been so many staff changes that The Simpsons at one point in time is not the same show as another time, and the shows that have been on during South Park do not seem to threaten them as most everyone agrees (though I can't comment because I don't watch The Simpsons) that they're long past their prime. Family Guy, on the other hand, is a legit threat, so they're more aggressive towards the latter.



http://exclaim.ca/comedy/article/trey_parker_matt_stone-south_park_team



http://www.businessinsider.com/family-guy-writing-process-2014-9?IR=T



Those two don't mince words. They call a spade a spade, and they hate Seth and Family Guy. Seth's response:



A perfect "hater's gonna hate" response :cool:


A perfect politician style answer from Seth. The long and the short of it being, they came up with one joke abut South Park, that wasn't good enough to tell. And another joke that would take 3 episodes to tell... sure :rolleyes:

Again, Parker & Stone don't hate Family Guy or Seth, they just think his style of writing is much simpler than theirs, and they're right. Half the jokes on Family Guy have nothing to do with the plot/story. They're jokes that can be added to any scene/story anywhere. They tell a story (with no moral) and add in a bunch of jokes that aren't related to the story. Funny, yes. Great writing, no.

The real reason (imo) they didn't take many shots at the Simpsons because it was beautifully written. Mel Brooks was one of their main writers for crying out loud.

Family Guy has been through a ton of staff changes also. Seth says he's too busy to respond... He doesn't even write his own shows. South Park write their own video game scripts, that's how serious they take their job. They write every episode between the two of them. Those guys are work-horses, and they found the time, because they care... Seth is just passing the buck.

Is teaching a prerequisite for art? For good art or all art? And you said "anything special," so is it what art teaches or that art teaches? And "mindless masses," really? So liking Family Guy proves you're a mindless meat sack while liking South Park proves you're intelligent? And "mindless comedy" is no better than "mindless action movie" inasmuch as it proves nothing beyond the fact that the person hurling these insults has chosen not to apply their mind to what they're insulting.

I like Family Guy, try to keep up.:p I'm arguing that South Park is much better written.

Look, 99% of people who have the kind of influence that Seth has, would at least choose one cause and try to do something good for the world. I'm not expecting him to lead a revolution here, but it's surprising that he doesn't use his platform for something bigger. That would be the responsible thing to do as a member of the human race and all, do you know what I am saying?

Teaching is not a pre-requisite for art, neither is a good story. Jackass is art, and it's hilarious, but it's not well-written, and it's not intelligent. (Sometimes the ideas are kind of clever, I suppose). Art has many forms. Again, I'm saying South Park is a superior art form, not that Family Guy isn't an art form, or that it's only aimed at morons... BUT South Park is aimed at both ignorant and informed people.

To me it's a little like comparing a really nice photograph of a Ferrari, with a beautiful impressionist painting. Both are art, but ones is art on multiple levels, which challenges you, and the other is just a picture that looks cool. South Park speaks to my sense of humour, and to my soul. Family Guy does the former, but not the latter.

I actually prefer American Dad to Family Guy. Seth can write properly, he just cheats in Family Guy, well he used to anyways. I'm pretty sure he doesn't write any of them anymore.

This part of your post is a perfect example of the arrogance and elitism that makes South Park (both its creators and its fans) look bad and Family Guy (both its creator and its fans) look good.

Arrogance and elitism? So having a message is arrogant and elitist and not having a message is good? :confused:

I'm going to assume that comment was in relation to the part you wrote above that, that you didn't even come close to understanding... which could be partially my fault. It's not an easy concept to explain. You speak of "Ivory towers of presumptuousness" from atop a mountain made of diamonds.

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I think the problem is that you didn't get the Family Guy episode. Cartman is very clearly voicing the sentiments of Trey and Matt, who hate Family Guy just like Cartman and for precisely the reasons voiced by Cartman. Kyle, meanwhile, serves as the South Park fan who also likes Family Guy (part of why Trey and Matt hate Family Guy is no doubt the fact that it so mercilessly crushed them in the ratings for so long, so with that in mind, they didn't want to alienate their bipartisan fans).

Wrong, I'm criticizing you and I don't hate you, or even dislike you. I just disagree with you. They're perfectly capable of enjoying Family Guy while getting angered by comparisons to their show. Why do you assume otherwise?

You equate criticism with hate... I couldn't disagree more. Take Ronda and Conor for example, they have the world telling them they're unstoppable and they believed it. The Yes men ruined them. Criticism is extremely important. Blind support leads to people like Hitler gaining power, criticism leads to people like that losing power.

Why do you think they made Kyle and Stan like Family Guy, if they were trying to trash them?

In what world is a show on Comedy Central going to beat a show on Fox in the ratings?

As i pointed out with my "Bowling for Columbine" spiel, South Park doesn't blame scapegoats. They don't blame Seth for his success, they blame the townspeople. One can criticize someone without hating them. To quote from Sloan "It's not the band I hate, it's their fans"

Even if this is true, I think it's even more demonstrably true that Family Guy is much more complex than you give it credit for, and that, between the two of us, I give South Park far more credit than you give Family Guy.

Can you provide some examples to show the complexity of their writing? What are some of your favourite episodes?

It's not what they do, it's how they do it that bugs me. In any event, I think it's worth pointing out here that, if there's any point where we could draw a fundamental division that illuminates the split between the two shows and their creative prerogatives, it'd be that South Park (and, by extension, Trey and Matt) is/are ultimately negative whereas Family Guy (and, by extension, Seth) is/are ultimately positive. Trey and Matt can't wait to trash people/movies/etc., whereas Seth can't wait to celebrate people/movies/etc. Trey and Matt always bring up what they hate, whereas Seth always brings up what he likes.

I totally disagree about them being negative. That's like saying Rosa Parks was being negative for not taking her seat at the back of the bus. South Park is negative with good reason, they're exposing people to real issues that we face. They're trying to (and in many cases succeeding at) changing public perception.

South Park has characters like "Big Gay Al", "Timmy" "Jimmy" "Conjoined Fetus-head Nurse" and "Token Black"... at the time no one was putting characters like this in their show. South Park challenges the social conventions of the time. They challenge the way we look at handicapped people (Family Guy does that with Joe, but they don't get the credit. they just copied South Park"

Even the Succubus in South Park was based on real folklore.

Topics they've centered their episodes around include:

- The murderous incompetence of the ATF (Alocohol, Tobacco, and Firearms) and how they botched the Waco job. (Meteor Shower)
- Group-think, brain-washing vs. Individualist thought. (Chinpokoman)(planetarium)
- Gentrification (Sodosopa)
- Organized religion covering-up their sexual abuse
- Immigration
- NAMBLA (everyone knows who they are now)
- Cults/Mass-suicide
- Beastiality
- Scientology
- Gun nuts
- How people in Afghanistan live (to show the American masses who were pretty damn ignorant towards Afghans at the time)
- Hate crimes
- The circus abusing "freaks"
- Mormonism (how many people knew the origin of that religion before South Park?)

Even in the first season they covered some diverse topics like "hunting laws", "gay animals", genetic DNA splicing, "starving kids in Ethiopia" "plastic surgery" and "having a mom that's a total whore" I can't think of another comedy that also takes on serious issues and teaches you things as well.

Family Guy may cover a lot of the same social issues (often years after South Park has) but they don't do it as bluntly. The ridiculousness of South Park is an analogy. That's how crazy society is, to them... and me.

I certainly love a good burning at the stake, but there are two sides to the coin.


They (and you) are so quick to say why other people do what they do, and while the ivory tower presumptuousness is affronting enough, it's how painfully off the mark they (and you) are that adds insult to injury. Do you know how insanely rich Phil Collins was then/is now? The last thing he needs is a "cash grab." He's got all the cash he could ever want to grab. He does shit because he wants to. And he wanted to do Tarzan for his kids, and "You'll Be In My Heart" in particular was for his daughter Lily. And if you, Trey, and Matt don't like that, then you can suck his Sussudio :p

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Bro! Don't come at me with your microaggressions!
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I'm of the belief that Disney is a horrible company, they treat their employees like crap, they over-charge, all their merchandise is made in China by wage-slaves. Phil shouldn't be working for/with them. They reward the rich with front of the line passes. Walt's a frozen fascist.

South Park on the other hand did the socially responsible thing, by making an episode showing Disney's true colours.
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Are you familiar with the saying "people in glass houses shouldn't throw stones" because you've hurled a lot of accusations at Matt Stone and Trey Parker, in fact a lot more than I hurled at Phil. Your main piece of evidence seems to be a Reddit thread...

You presume Stone and Parker made up the story, while accusing me of speaking from an ivory tower of presumptuousness.
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Phil Collins character in South Park was based off the Gumby's from Monty Python's flying circus. The way they portrayed him wasn't a reflection of Phil's character at all. The joke about the drugs making kids like Phil Collins was a jab at the academy. He won an oscar for a love song in a kids movie... what fucking kid wants to hear that? What was it even doing in there. It's ridiculous, which makes the song fake and cheesy (imo) and I can only assume that South Park agrees... Phil's song was much more popular, just another example of why Parker and Stone think society is ridiculous. The Academy choose a song that doesn't belong in a kid's movie and award it, over a song that was a brilliant and perfect for the movie, because it has foul language in it... The Academy (much like the mainstream media) award those who play it safe, and punish those who rock the boat and take a stand... That's ridiculous.

It's not Phil that they hate, it's what he represents... someone who is playing the game of life for themselves (and their family) rather than those who are playing for humanity.

Why do religion and government push family values so hard? One reason is because once you have a family you can't take strong political and moral stances, you just need to earn enough money to keep them comfortable, no matter what. If that means taking advantage of others than so be it. That's capitalism, every man for himself... That's not South Park, where the main characters try to build a community of informed people that work together... but much like in real life, they fail every time... because few people like to think and analyze things, most people just parrot what they hear elsewhere (from the media)
 
So, you don't find it the least bit plausible, yet you spent half an hour googling it

Saying that I think it's implausible isn't the same thing as saying I think it's impossible. It doesn't happen very often, but I'm capable of being wrong from time to time. I wanted to make sure that wasn't one of those times. And, unless there's evidence I've yet to see, it wasn't.

You must really want to prove me wrong

Nothing to do with you. I just wanted to see if my perception of Phil needed to be adjusted. At this point, it doesn't.

It was 17 years ago, you're not going to find a quote online.

I think I've found at least one or two quotes online that were said by people more than 17 years ago ;)

What makes you think Parker and Stone are lying?

For as much as they're a duo, Trey is the one who always brings up Phil Collins, so here, the question is what would make me think Trey is lying. And, to be more precise, I don't think he's lying. He could be lying. Or he could just be mistaken. Or he could've gotten bad information. Whatever the case, it'd be much easier for me to accept than Phil taking shots at them. That's the hardest scenario for me to buy based on what I know of Phil from being a fan of his for so long and reading so many interviews and watching so many documentaries.

Later in this post you say of Parker and Stone "they don't mince words"... but here they do?

Oh, they're perfectly capable of contradicting themselves and being hypocrites. Given their egos, I'd be surprised if they didn't contradict themselves every once in a while. Saying they don't mince words means they say exactly what's on their minds even if it pisses people off. It has nothing to do with whether what they say that pisses people off is in line with or contradicts their values.

The fact that you think Phil Collins is incapable of saying something bad about someone

Straw man alert.

Maybe he does have a good sense of humour

If you have to say "maybe," then it's pretty clear your exposure to Phil is very limited if not nonexistent.

but he doesn't think the academy, celebrities, and fashion are a joke... so why would he get (or appreciate) the joke?

If people weren't capable of understanding ideas that they themselves disagree with then the very concept of disagreement would be inconceivable. Besides, if it's possible for Trey and Matt to have had an ambivalent relationship to the Oscars (where the negative-to-positive ratio was admittedly favoring the former) - thinking it's stupid but not wanting to pass up the opportunity to at least go to the Oscars and have that experience - then surely it's possible for Phil to have had a similarly ambivalent relationship (where the negative-to-positive ratio favored the latter) such that he could get and appreciate the joke while nevertheless enjoying getting an Oscar and being able to dedicate his work to his kids on such a big stage.

Seinfeld always relates to the story in the episode, however loose the story is.

Another straw man alert. There isn't a single Family Guy episode that doesn't have a story. In fact, from day one Family Guy has been an ensemble show, which means episodes frequently have multiple storylines just like any other sitcom, including South Park. The charge that Family Guy is completely random doesn't even come close to touching the actual show.

I mentioned that the South Park-Family Guy episode was the exception to the rule.

Well that's the episode I was talking about in terms of Trey and Matt using Cartman to express their opinions, so past that...

In the episode where Chef is trying to change the racist flag, and all the dummies on the news are just repeating what they're told, they all say "yeah the flag is racist, but it's history"... that's the kind of shit you see on the news all the time. That's how the media portray issues. they make them seem complex when really the issue is as "black and white" as they come, pun intended. Those people that repeat what they're told and can't make a decision even though it's so obvious... they are the townspeople. To someone like Chef, it's ridiculous that they can't see their own hypocrisy... There'an NFL team called the "Redskins"... How about I start a basketball team and call them the Blackskins... it's "retarded" that people don't see how racist that name is.

It's not that Kyle and Stan are smarter than everyone else, they're just more informed, they make the effort, they do the research, they don't watch the news or read the newspapers either, they form their own opinions. The rest of the characters are ignorant and indifferent to any topic, unless it's on the news, and then they just pick one of two sides. You don't think masses of people do that in real life? No one has the time to research everything for themselves, and most don't bother to research at all.

Your reading of Barry Lyndon was so insightful. Where'd that Beardo go?

To the many issues in this interpretation:

1) I know all about the bias towards fairness. I've watched The Newsroom.

2) "Dummies" makes it seem like the problem with the people interviewed in that news segment you're referring to is one of intelligence. It's not. It's one of (moral) guts. It's not that they're not smart enough to take a stand for or against changing the flag, it's that they're not brave enough. Equivocation is the problem, not ignorance.

3) You're actually the one making the issue black-and-white. Your limited reading of that episode would fall apart if you tried to incorporate Chef's revelation at the end of the episode. The whole point of that episode is that the discourse has changed from tolerance to progress. In fact, going back to the previous point, the second news segment in that episode turns it around and shows how tolerance (which all but demands equivocation from a logical standpoint) is the problem, as the people interviewed are forced to tolerate the KKK if they want to maintain their precarious position on both sides of the fence.

4) As for progress, this can be seen in Chef's arc. Chef is from an earlier era in which he had to fight for equality and fair treatment, an era when the Civil Rights movement was a lived experience. Realizing that that's not the case anymore, that not everyone is a product of the Civil Rights era, that not everyone is part of the violent history of race relations, he realizes that there's no need for race relations to always be violent. He sees, in the kids' perspective, the possibility of true equality and peaceful progress.

5) It's funny that you reference the Redskins, not only because it made me think of the "Go Fund Yourself" episode, but also because the corollary episode here is "Douche and Turd" where so much energy is wasted on the school mascot. It's the flip side of the coin where racism is still a problem (as is animal cruelty) but social justice warriors (or PETA terrorists) are no less problematic, and are arguably more problematic insofar as their actions keep tensions at a boiling point rather than trying to bring people together so that we can all move forward.

Are you saying Peter's mistakes are a learning experience for the public...

Yes.

If so then is the general public really any less "retarded" than the townspeople in South Park. Is the public unaware that making your own helicopter that looks like you and then trying to fly it without any lessons is a bad idea? [...] I'm not sure what you're trying to say there.

To recapitulate:

I do want to stress the point that, for as brilliant as the satire can be on South Park - and I should mention that I have now seen every episode ever made from beginning to end and consider this most recent season BY FAR the most brilliant and the funniest, yet the criticism I'm about to make applies just as much to this last amazing season as to earlier, not-so-amazing seasons - the internal logic of the show makes absolutely no fucking sense. Unless the residents of South Park are literally retarded, the depth of their stupidity - especially when juxtaposed with the lucidity and eloquence of the little kids - is such that it's hard for me to reconcile the lofty ambitions of the show with such basic incoherence and silliness.

Family Guy, by contrast, is explicitly about a stupid man who who fights tooth-and-nail every last learning experience. Thus, the situations in which he finds himself have more internal coherence even if they don't aspire to same height of social commentary.

When I'm talking about the "internal coherence" of the two shows, I'm talking about which show makes more sense on the terms established therein. South Park suffers from the "reset" problem. For so many years, Trey and Matt operated on the obsolete sitcom premise that, after each episode, you hit the reset button and start all over. The result in a standard 22-episode season is a season of 22 self-contained story worlds. In South Park, with its heavy didactic bent, it doesn't make sense that all the morons in that town keep doing such stupid shit and keep having to learn the same lessons with not even a hint of an increase in knowledge or growth.

Now, to Trey and Matt's credit, they were aware of this and poked fun at it within the show (see "Butt Out" and "Pandemic" where Kyle and Craig respectively point out all of the silly shit that happens in the show). You, however, are trying to have your cake and eat it - which, again, to Trey and Matt's credit, they also acknowledge as an inherent contradiction in what they're doing (see the end of "Stunning and Brave").

Family Guy, on the other hand, suffers no inherent contradictions. In moving away from the absurdism of their earlier seasons, the logical holes in South Park are more problematic now. In Family Guy, by contrast, they've always been and still are zany and absurd. So it doesn't hurt them that Stewie is still an infant or that Meg and Chris are still in high school. The show has a talking dog and a talking, malevolently brilliant baby. The genius of Family Guy, in fact, if I had to put a fine point on it, is not strictly its plotting but the way Seth has obliterated the formal boundaries of TV storytelling. It's one thing to make references, to have allusions, to be self-aware; what Seth is doing is literally changing the form of TV comedy, animated or otherwise, by pushing this much further, and in a way that's both smart and funny.

Of course, formal experimentation versus moral/political enlightenment is a battle that has been raging in the philosophy of art for centuries and I don't expect for the two of us to settle things once and for all here on Sherdog. I do think it's important, though, to clarify the terms and the sides of this debate.

A perfect *grown-up answer from Seth.

*FTFY ;)

And another joke that would take 3 episodes to tell... sure :rolleyes:

That part of the answer was, itself, a joke. Seth was saying that, to top South Park, which devoted two episodes to bashing Family Guy, Family Guy would have to do three episodes bashing South Park.

Arrogance and elitism?

And copious amounts, to boot.

You equate criticism with hate

No, I equate Trey and Matt's criticisms with hate. Especially when they talk about getting flowers from other animated shows after bashing Family Guy and describe it as the solidarity of the animation community in their hatred of Family Guy.

I didn't introduce hate into this conversation. Trey and Matt did. You can keep denying it, but Trey and Matt don't, so why would you?

Why do you think they made Kyle and Stan like Family Guy, if they were trying to trash them?

For the reason I said in my post:

Cartman is very clearly voicing the sentiments of Trey and Matt, who hate Family Guy just like Cartman and for precisely the reasons voiced by Cartman. Kyle, meanwhile, serves as the South Park fan who also likes Family Guy (part of why Trey and Matt hate Family Guy is no doubt the fact that it so mercilessly crushed them in the ratings for so long, so with that in mind, they didn't want to alienate their bipartisan fans).

In what world is a show on Comedy Central going to beat a show on Fox in the ratings?

Chappelle's Show routinely beat South Park and every other show on in the ratings.

South Park doesn't blame scapegoats. They don't blame Seth for his success

I don't know if Trey and Matt contradict themselves on this point, but given your repeated criticisms of Seth for not taking a stand and using his power for good, you certainly do.

Can you provide some examples to show the complexity of their writing?

1) Season 1 Episode 2 (1999) - "I Never Met the Dead Man" - Peter crashes into a satellite dish and knocks the cable out for the neighborhood. It becomes clear that he's so addicted to TV that he ends up losing his mind and walking around with a cardboard square in front of him, in effect turning the real world into a TV show. It's a very sharp indictment, not to mention it's funnier on my 20th viewing than any South Park episode was when it was fresh to me.

2) Season 2 Episode 8 (2000) - "I Am Peter, Hear Me Roar" - Peter has to go to sensitivity training for his sexism in the work place. He ends up basically turning into a woman, and while Lois initially likes the new sensitive Peter, she quickly grows to miss the man she married. A sharp and incisive commentary on the blurring of gender lines in our increasingly PC society, and, once again, an episode that far outpaces South Park in hilarity.

3) Season 3 Episode 3 (2001) - "Mr. Griffin Goes to Washington" - Peter's toy company gets taken over by a tobacco conglomerate, and rather than trying to fight the tobacco industry, Peter allows himself to be blinded by the money and prestige they throw at him to keep him in line. Yet another sharp commentary in yet another hilarious episode.

4) Season 4 Episode 14 (2005) - "PTV" - Peter gets sick of the FCC censoring his favorite TV shows, so he and Brian create their own TV channel with "edgy" material. The FCC then shows up to censor real life. Funny, smart, and prior to South Park's real-life TSA episode.

5) Season 5 Episode 17 (2007) - "It Takes a Village Idiot, and I Married One" - Lois runs for mayor against Adam West. She's losing until she dumbs down her platform. She tells Brian it's only to get elected, but once she's in office, she'll make significant changes. Instead, she ends up just as greedy and corrupt as Adam West was. Another home run.

And that was literally just a few minutes on Wikipedia picking one episode per season and stopping at Season 5 because I didn't feel like doing all of your work for you. Watch Family Guy beginning to end the way I watched South Park, and watch it with an open mind, and see if you can honestly maintain any of your silly reductive criticisms when faced with the actual episodes themselves.

I totally disagree about them being negative [...] South Park is negative

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They challenge the way we look at handicapped people (Family Guy does that with Joe, but they don't get the credit. they just copied South Park)

Timmy's first appearance in South Park was in 2000 (Season 4 Episode 1). Joe's first appearance in Family Guy was in 1999 (Season 1 Episode 5).

The joke about the drugs making kids like Phil Collins was a jab at the academy.

No, it was a jab at Phil Collins.

He won an oscar for a love song in a kids movie... what fucking kid wants to hear that?

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What was it even doing in there.

What was a great song by one of the greatest and most popular musicians, songwriters, and performers in music history doing competing for and winning an Oscar in the Best Original Song category? Really?

The Academy choose a song that doesn't belong in a kid's movie

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Which episodes were those?

I don't remember them all, nor do I remember many specifics. Any episode where the kids weren't the main focus, that one with Mr. Garrison fighting the lesbians, all of the "special" episodes like that anime episode and the Warcraft episode. And then, like I mentioned to ufcfan, I'd often skip Randy's stuff since he's painfully unfunny unless Stan is in the storyline with him.
 
I know Family guy is played out as fuck, but if you've ever gotten any enjoyment out of it, you'll prolly like this:



wow that is scary spot on.
 
Con Air is one of my favorite movies and is objectively awesome. Not in the it's so dumb it's awesome sense, either.
 
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I don't remember them all, nor do I remember many specifics. Any episode where the kids weren't the main focus, that one with Mr. Garrison fighting the lesbians, all of the "special" episodes like that anime episode and the Warcraft episode. And then, like I mentioned to ufcfan, I'd often skip Randy's stuff since he's painfully unfunny unless Stan is in the storyline with him.

See I think some of the gimmicky episodes are hit or miss but the Warcraft one to me is absolutely classic. That training montage where they are getting progressively fatter and more disheveled is laugh out loud funny to me.

That Nightmare on FaceTime episode that you referenced is one that I somehow forgot, but it is damn funny. I love when Randy has to keep sarcastically pointing out the humor that Blockbuster video is so old that it's haunted. That was great.

Also, this gif made me think of a.) How much I love Gangs of New York. b.) How I've been meaning to watch it again. c.) How one of my favorite scenes is when the Butcher gets shot/Amsterdam saves him from getting killed.

DDL's primal shout after he gets shot and then the way he talks to his would-be assassin get me every time. I know I shouldn't laugh at the expletive that he uses to refer to the guy but it's just so over-the-top that I can't help it.
 
Con Air is one of my favorite movies and is objectively awesome. Not in the it's so dumb it's awesome sense, either.

so many quotables from that one. My brother and I used to go back and forth with lines from Colm Meaney, Cusack, and Malkovich, Cage, and Mykelti Williams primarily.

We'd also do our best Nick Chinlund imitation and be like, "I knew you was a punk," from time to time.

In reality that movie is about as big and dumb as big, dumb action movies get, but it sure is entertaining.
 
Con Air is one of my favorite movies and is objectively awesome. Not in the it's so dumb it's awesome sense, either.

Yeah it's a riot. When I was a kid that one line from the antagonist about Steve Buschemi the serial-killer being a "national treasure" really got me thinking. Insightful stuff for a 8 years old.:D
 
Since Beardo distracted me with his Family Guy malarkey, let me get back on track here...

Dark Victory (Yeah it's pretty good, probably the movie I liked Bette most in)
Elisabeth and Essex (It's pretty meh, I didn't feel the romance at all)
The Man Who Came to Dinner (fairly humerous)
In This Our Life (I... can't think of anything to say. Mediocre... I suppose?)
Now Voyager (fairly pleasant melodrama, just not my kind of movie I suppose. Hitler-mom was a riot though)
Mr Skeffington (Umm... it's alright. Probably just not my kind of movie I suppose).
All About Eve (I liked it very much but about a third of the way in I just felt like I "got it" and didn't feel very stimulated afterwards. Would probably imporve on a rewatch).

I'm not saying Bette Davis films are bad or anything. But I've never been involved in any of them as I've have with, say, Humoresque with Crawford or many Hepburn films. As I mentioned, part of me thinks it's just a matter of taste.

The fact that you consider In This Our Life "mediocre" gave me pause (John Huston hot off The Maltese Falcon and Davis doing the femme fatale role as only she can? Come on!) but regardless, I'm confident that I have not only what will be your favorite Bette Davis movie but one of your top picks among your favorite 1930s gangster movies: Marked Woman. Co-starring Humphrey Bogart and directed by Lloyd Bacon (super instrumental in Bogart's early career, directed him in some great stuff like San Quentin, Racket Busters, Invisible Stripes, and a personal favorite "hidden gem" of mine, Brother Orchid) Bogart is a lawyer (on the right side of the law for a change) who tries to get Davis to testify against a gangster. It's great and Davis and Bogart are great in it. I'll be shocked if you don't like it.

Other Davis recommendations:

The Letter: Early noir style melodrama with Davis in her element as a nasty femme fatale. One of her many collaborations with William Wyler, as well, so you know the aesthetics are on-point.

The Bride Came COD: This is the movie that Cagney/Davis gif I posted a little while back was from. It's not the greatest movie (it's literally just It Happened One Night, only Cagney is a pilot instead of a reporter) but it's a ton of fun watching Cagney and Davis paired up. The script doesn't crackle as much as its source movie, but you'll enjoy the two of them for sure.

The Little Foxes: Another collaboration between Davis and Wyler. Davis once again in her nasty element. An extraordinary film on every level, from the script to the acting to the aesthetics. Definitely one of the highlights of 1940s studio filmmaking.

Beyond the Forest: This might become your favorite Davis film. It's so up your alley. Campy as fuck (from King Vidor the same year he did The Fountainhead - and boy is this on the other end of the spectrum from Rand :D) with Davis as the most viciously over-the-top femme fatale in film history. I expect you'll really get into this one.

What Ever Happened to Baby Jane?: If Beyond the Forest isn't your favorite Davis film/performance, then What Ever Happened to Baby Jane? will be. It's an unbelievable tour-de-force from Davis (certainly one of my favorites) whose lunacy makes Gloria Swanson in Sunset Blvd. look normal, even boring, by comparison. It's also the classic onscreen showdown between Davis and Joan Crawford. Highly recommended.

Rand (and you) I assume believe that art can be analyzed objectively. Art being formalized through the artists value-jugements and all that. And therefore, there should be an analytical concluision that are objective (ie: Chinatown and nihilism). If that is true, then why is the existence of choice for others (who are wrong) necessary for morality, If you can objectively discern the value-jugement that the film is making?

Even though repeating yourself during a discussion is like the height of condescension, I really think it's important to recapitulate:

I watch Chinatown, I recognize its nihilism, I judge it as bad because it doesn't offer alternatives and instead just acquiesces to hopelessness and despair. The action that I take after making that judgment will determine whether or not my position is truly a moral position.

It's one thing if, upon judging the film thusly, I say people shouldn't make movies like Chinatown. That still allows for choice, without which morality as such would be impossible. People would still have the choice to make movies like Chinatown, and for a variety of reasons - i.e., because it's realistic (meaning they disagree with my moral judgment), because it works as a cautionary tale (meaning they agree with my moral judgment but still find such movies probative/productive), etc.

However, it's a whole other thing if, upon judging the film thusly, I say people mustn't make movies like Chinatown. That does not allow for choice, and therefore annuls morality. Now, it's the force of my claim rather than the logic of my claim with which I'm expecting others to deal, and a forced choice is not a choice.

To add to this: The reason choice is crucial is because, as human beings, we're fallible. As I mentioned in my discussion with Flemmy, objective is often, for some strange reason, equated with omniscience. Objective doesn't mean "always right." It's possible that we fuck up, that we fail to take something crucial into consideration, etc. Thus, the freedom of choice leaves open avenues of debate, it allows for the fine-tuning of our positions with respect to the world and our fellow human beings in it.


Hey, I had the opportunity for a Heat reference and I took it.

I still get the impression that the movie presents Skeffingtons contradictions as an necessary evil to cause greater good than anything faulty that eventually causes him to crumble.

It's not about crumbling. It's nothing cataclysmic. It's just that, as he goes through the film in such a reflective state of mind, his conduct - the good, the bad, and the ugly; the black, the white, and the gray - is what he has to work through and decide if he can live with it - or, more accurately and more profoundly, die with it. If he lived like Howard Roark, never allowing for contradictions or compromises, then such reflection wouldn't even come up. Since Skeffington is not a black-and-white character, he has to navigate through murkier (not necessarily evil, but not straightforwardly righteous, either) ethical waters - and that means, in judging him, we, too, have to navigate those same murky waters.

I'm not trying to insult you or give you shit, but I really don't think you got the complexity of that film or that character, though that's by no means a mortal flaw on your part. It just means you get to rewatch it some time, which also means we'll get to have a Round 2 to this conversation ;)

You seem very much to be in the live-through-the-protagonist mode of operations.

This is accurate. However, in the context of Chinatown, it's irrelevant. I don't think you can divide character and plot for that film the way you're trying to in this post; i.e., I don't think you can't separate Jack's character from the larger perspective of the film, as the latter is discernible only through the former.

I think what we're heading towards here is something closer to "it makes sense" rather than "it's right" It's what Nolan did, and we're both saying "it's right" because it makes sense and we like it. I don't think there's anything subjective about it making sense...but it's not what HAD to happen in the first place. I think if you did actually feel like the slow motion van took you out of the pace of the 2nd and 3rd levels, it's fair to say Nolan could have done something entirely different that would have made them feel something better....maybe choosing a different kick that would work at the same frenetic pace...the way levels 2, 3, and limbo all sync up without slow motion.

I have to confess the urge to resist you here. The shift from "it's right" to "it makes sense" strikes me as a distinction without a difference. Mainly because, if that argument were to proceed, it'd look like this: "It makes sense..."/"Maybe, but I think it would've made more sense..." And isn't the idea of making more or better sense just a variant of right/wrong talk?

I do like that you're emphasizing what Nolan did. That's keeping things specific, which is what I was getting at earlier with my philosophical nonsense ( :D ). Our job in every aesthetic discussion is to do justice to the particular artwork under consideration. To discuss art in an objective register is to acknowledge that, as an objectively existing entity, every artwork has an identity. If, however, we grant that artworks, as objectively existing entities, have their own identities, then it does follow that what happens in, for example, a film had to happen, otherwise it wouldn't be the film that it is.

The challenge in light of this then becomes how to determine what is so essential in a film that, without it, or in a different form, the film itself becomes a different film. In our Inception example, the slow-motion in that sequence is essential to the inherent logic of the film. It doesn't just make sense. It's right. And if you object to that, what you're objecting to isn't an element of the film. You're objecting to the film.

And fuck anyone who objects to Inception.

and let me just take a second here to point out that this is the type of shit that makes me consider a straight-forward narrative so much more challenging than an abstract one. these sorts of rules that not only create limitation, but add pressure to execute in a way that satisfies logic, intelligence, artistry, and enjoyment. People really love to champion movies that are held to none of this, and do so as though something even more difficult/intelligent is being attempted

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You're striving for "boring" here, imo.

I'm not looking for a scenario where there is no Mal. I'm looking for the Inception scenario where Mal doesn't win. I want the scenario where we choose to leave limbo rather than accept it and accept our brains turning to scrambled egg.

Bullitt is gonna kill me for not watching Burn Notice after like 3 years of recommending it and I have time and I fucking put on Marco fucking Polo hahahahah sorry buddy, I'm finishing it this morning. I'll put on Burn Notice for the remainder of my time here.

I already told you that, if the movie club picks Black Swan, I'll rewatch it for you. I'm not breaking my word on that. However, if Black Swan doesn't get picked, then I'll still give you the chance of getting me to rewatch it, only in this scenario, it'll only happen once you've watched Burn Notice :cool:

this gif made me think of a.) How much I love Gangs of New York. b.) How I've been meaning to watch it again. c.) How one of my favorite scenes is when the Butcher gets shot/Amsterdam saves him from getting killed.

DDL's primal shout after he gets shot and then the way he talks to his would-be assassin get me every time. I know I shouldn't laugh at the expletive that he uses to refer to the guy but it's just so over-the-top that I can't help it.

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Honestly, after rewatching Inception a couple of weeks ago, I was thinking about rewatching Shutter Island. Then I thought it'd be cool to watch/rewatch all of Scorsese's post-2000 movies (not counting The Aviator for obvious reasons). I was going to start with Gangs of New York but decided I'd hold off on that project for another time. I definitely agree that it's a phenomenal film. I'd even argue it's underrated given how infrequently it comes up in discussions of the best movies of the last 15-20 years.

And yes, DDL brings the motherfucking house down.
 
Deal, @Bullitt68 ! Love Gangs of New York and especially DDL's performance in it. How do you rank DDL's performances?
 
How do you rank DDL's performances?

I should start by saying that I consider him to be vastly overrated given how so many people think he's literally never given a performance that wasn't a 10/10 acting masterclass. I do, however, consider his work in Gangs of New York and There Will Be Blood 10/10 acting masterclasses.

As for ranking his performances, I'd rank the ones I've seen as follows:

Gangs of New York
There Will Be Blood
The Crucible
My Left Foot
The Boxer
In the Name of the Father
The Unbearable Lightness of Being
The Age of Innocence
The Ballad of Jack and Rose
The Last of the Mohicans
My Beautiful Laundrette
A Room with a View
 
I should start by saying that I consider him to be vastly overrated given how so many people think he's literally never given a performance that wasn't a 10/10 acting masterclass. I do, however, consider his work in Gangs of New York and There Will Be Blood 10/10 acting masterclasses.

As for ranking his performances, I'd rank the ones I've seen as follows:

Gangs of New York
There Will Be Blood
The Crucible
My Left Foot
The Boxer
In the Name of the Father
The Unbearable Lightness of Being
The Age of Innocence
The Ballad of Jack and Rose
The Last of the Mohicans
My Beautiful Laundrette
A Room with a View

Word, I've always liked him in Gangs of New York the best as well, but There Will Be Blood is right there with it, just not as enjoyable a character.

Having watched The Pianist also... I feel like DDL was better and should have won the Oscar that year over Adrien Brody.

I know I like some odd stuff for motivation in movies, but this is one of my favorites that you might identify with as well:



"And I rose back up again with a full heart and buried him in his own blood."

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I should start by saying that I consider him to be vastly overrated given how so many people think he's literally never given a performance that wasn't a 10/10 acting masterclass. I do, however, consider his work in Gangs of New York and There Will Be Blood 10/10 acting masterclasses.

As for ranking his performances, I'd rank the ones I've seen as follows:

Gangs of New York
There Will Be Blood
The Crucible
My Left Foot
The Boxer
In the Name of the Father
The Unbearable Lightness of Being
The Age of Innocence
The Ballad of Jack and Rose
The Last of the Mohicans
My Beautiful Laundrette
A Room with a View
Hopefully you're a good enough man to not include Lincoln not cause you haven't seen it, but because its the ultimate snoozefest garbage film
 
Word, I've always liked him in Gangs of New York the best as well, but There Will Be Blood is right there with it, just not as enjoyable a character.

In terms of DDL's work, they're very close. In terms of the characters (and, for that matter, the movies) themselves, they're not close at all.

Having watched The Pianist also... I feel like DDL was better and should have won the Oscar that year over Adrien Brody.

Not since the 1955 Oscars when Ernest Borgnine took home the trophy over James Cagney (the deserving recipient), Spencer Tracy, James Dean, and Frank Sinatra had their been such an affronting travesty in the Best Actor category. Everyone in the field that year deserved that award over Brody. DDL literally blew him off the screen. But The Pianist was about the Holocaust. Game, set, match.

I know I like some odd stuff for motivation in movies, but this is one of my favorites that you might identify with as well

I love that scene. I love that dynamic between the Butcher and the Priest, men of principle divided by one (small in my mind, enormous in theirs) thing that forever pitted them against one another. And I love that line about cutting out the eye that looked away.

And, come on, he's using the American flag as a blanket :D

Hopefully you're a good enough man to not include Lincoln not cause you haven't seen it, but because its the ultimate snoozefest garbage film

I haven't seen it, but the reason I haven't seen it is because I can't imagine it being anything but a snoozefest garbage film.
 
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