Bradly Cooper IS Father John Misty & Lady Gaga IS Lady Gaga

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby aububs » Fri Oct 12, 2018 10:09 am

the vox article is way ott and silly but I do think there are patriarchal aspects to this story, altho as bad craziness says depiction doesn't imply endorsement
no buddy not really
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Postby mystery meat » Fri Oct 12, 2018 10:24 am

George Cukor, who directed the '54 version, was a gay man whose whole career consisted of working intimately with women actors and telling the most nuanced stories of women's experiences of the era this side of Vincente Minnelli or Dorothy Arzner, but nah let's just pretend that all the women/queer ppl who worked on these old movies had no agency of their own to circumvent in any way the patriarchal makeup of this story.

(not denying the story itself is mega patriarchal/problematic; it is extremely so)
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Postby mellowgold » Fri Oct 12, 2018 10:26 am

great post mystery meat!!! <3
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Postby easy » Fri Oct 12, 2018 10:37 am

mystery meat wrote:George Cukor, who directed the '54 version, was a gay man whose whole career consisted of working intimately with women actors and telling the most nuanced stories of women's experiences of the era this side of Vincente Minnelli or Dorothy Arzner, but nah let's just pretend that all the women/queer ppl who worked on these old movies had no agency of their own to circumvent in any way the patriarchal makeup of this story.

(not denying the story itself is mega patriarchal/problematic; it is extremely so)


good freakin post
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Postby Eyeball Kid » Fri Oct 12, 2018 10:51 am

Bad Craziness wrote:
Franco wrote:Are there some sexist and outdated patriarchal elements to the tale? Absolutely.

But a wise man once said, "Maybe its time to let the old ways die." And I think a calculated and arguably subversive effort to do so should be welcomed and not necessarily placed solely in the modern social gaze.


dumb article

at some point people got it into their heads that depiction implies endorsement and it’s so fucking stupid and I’m sick of it

It's The Discourse™ now
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Postby endless dave » Fri Oct 12, 2018 10:58 am

sorry if this has been addressed, but I saw this last weekend and the biggest thing my friends and I debated was how cynically were we suppose to take the ending and final song and her performance? I read it was genuinely heartfelt and the cut back to Cooper singing it is suppose to show us the intent behind it but also the look into the camera and this sort of ploy about this giant spectacle of her doing this gigantic performance not too long after his death, I dunno, something like that in real life would just feel weird and tacky at best to me. is it suppose to show this sort of slip of what fame does to even real, deep emotions like reacting to the death of the person you most loved? about how her life really just exists now to be looked at and her connection to him will always be this relationship to her career and not easily separated out as something more genuinely a human connectionToggle Spoiler
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Postby aububs » Fri Oct 12, 2018 11:02 am

you're not meant to take the ending cynically at all

it's just her singing nice song for dead manToggle Spoiler
no buddy not really
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Postby hyperbole man » Fri Oct 12, 2018 11:05 am

this paragraph in the vox piece really bothered me:

In response to this, Jackson immediately proposes to Ally. This is framed as romantic, but it’s clearly a reaction to her threatening to take away their entire relationship. While Ally is still stunned, Jackson’s friends suggest that they can get married right away, even that very day, without having to wait. So Ally is once again put on the spot and asked to immediately, spontaneously, make a huge and life-changing decision, under pressure from people around her. And it’s framed, once again, as something positive and romantic, something that’s good for her.


there were some decent points before that, but i strongly disagree with those "framed as" claims, to the point that i basically checked out of the rest of the article because that seemed like such a wrong reading that the author was forcing onto the film. i think those scenes are deliberately ambiguous, hitting notes both romantic and ominous/uncomfortable.
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Postby hyperbole man » Fri Oct 12, 2018 11:12 am

endless dave wrote:sorry if this has been addressed, but I saw this last weekend and the biggest thing my friends and I debated was how cynically were we suppose to take the ending and final song and her performance? I read it was genuinely heartfelt and the cut back to Cooper singing it is suppose to show us the intent behind it but also the look into the camera and this sort of ploy about this giant spectacle of her doing this gigantic performance not too long after his death, I dunno, something like that in real life would just feel weird and tacky at best to me. is it suppose to show this sort of slip of what fame does to even real, deep emotions like reacting to the death of the person you most loved? about how her life really just exists now to be looked at and her connection to him will always be this relationship to her career and not easily separated out as something more genuinely a human connectionToggle Spoiler


i think it's intended as heartfelt, but the latter interpretation is good/interesting and adds to the film. at the same time, i don't think the original intent is necessarily a problem/to the film's detriment.
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Postby endless dave » Fri Oct 12, 2018 11:41 am

I understand the intent and agree that the movie pretty clearly makes the case though again, there is the look into the camera momentToggle Spoiler, but I then it's more my personal feeling of how would I, in real life, look at a pretty new pop star whose career is pretty shallow at this point, if not well-known, suddenly have this huge and impeccably produced Whitney ballad for her dead husband that during the first performance of, she announces she officially is taking the last name of (which I know is a bigger part of the other versions). a genuinely heartfelt thing that just so happenes to be a really good career moveToggle Spoiler
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Postby bold man » Fri Oct 12, 2018 1:19 pm

this movie slays
in the international space station having a three-way with hillary clinton and sarah palin
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Postby defective » Fri Oct 12, 2018 3:46 pm

bold man wrote:this movie slays
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Postby defective » Fri Oct 12, 2018 3:51 pm

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Postby Franco » Fri Oct 12, 2018 3:58 pm

There was another one today. A Slate piece on the rock/pop art/commerce angle. I will read not one word of thinkpiece on this motion picture.
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Postby Eyeball Kid » Fri Oct 12, 2018 4:11 pm

defective wrote:

Nodding my damn head off in agreement right now
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Postby Bad Craziness » Fri Oct 12, 2018 5:07 pm

it has to stop
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Postby Franco » Fri Oct 12, 2018 5:19 pm

I dunno about stop. There’s a large segment of people that benefit and have their awareness raised by The Discourse myself included in certain cases. But it should absolutely get more sophisticated and comprehensive wrt context
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Postby Bad Craziness » Fri Oct 12, 2018 5:19 pm

Sorry “Monsters”, A Star Is Born Completely Fails to Address US Involvement in the Yemen-Saudi Arabian Conflict

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by Some Fucking Dingleberry

posted October 12, 2018
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Postby Viola Swamp » Fri Oct 12, 2018 6:59 pm

glad to see this movie turning everyone into camera-jacksons
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Postby Hal Jordan » Fri Oct 12, 2018 8:18 pm

Bad Craziness wrote:Sorry “Monsters”, A Star Is Born Completely Fails to Address US Involvement in the Yemen-Saudi Arabian Conflict

Image

by Some Fucking Dingleberry

posted October 12, 2018


:)
well that was intense
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Postby Hal Jordan » Fri Oct 12, 2018 8:19 pm

Fuck off h8rs
well that was intense
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Postby mellowgold » Sat Oct 13, 2018 6:03 pm

does this movie take place in 2008/9???

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Postby Franco » Sat Oct 13, 2018 6:20 pm

The word is TIMELESS
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Postby Viola Swamp » Sat Oct 13, 2018 6:49 pm

lil ugly lights camera jackson maine
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Postby davideotape » Sat Oct 13, 2018 9:24 pm

I took any of what others here detected as cynicism as driving home the point that she was finally a fully realized star with nothing to stop her, and it was specifically because he was dead and out of the picture, which is what he wanted for her anywayToggle Spoiler

I guess thats cynical in its own right, but in a different way than i think others here are conveying

But yeah as far as that article— i hadnt thought about this in a while because i dont write too often but after watching this I remembered what my sophomore screenwriting teacher always asked us when we read/wrote scripts, watched films in class, etc and thats “Whos story is this? In every screenplay theres only one person whos story this is and if the film doesnt know, it suffers for it” and that might be whatever as far as advice goes, but it occurred to me immediately after coming out of the theater in regards to this film because yeah, i think it was his and the film and cooper made that choice. I dont think it needed to be hers, per se, but i can see why some people mightve expected it to be, as shes the titular star that is born
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Postby hyperbole man » Sat Oct 13, 2018 10:02 pm

i think i've decided that "always remember us this way" is the best song on the ost/in the movie...
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Postby hyperbole man » Sat Oct 13, 2018 10:03 pm

also i straight up love "heal me"
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Postby hyperbole man » Sat Oct 13, 2018 10:09 pm

outside of "maybe it's time" i can't really do the solo cooper songs
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Postby Franco » Sat Oct 13, 2018 10:40 pm

hyperbole man wrote:i think i've decided that "always remember us this way" is the best song on the ost/in the movie...


I’ve been hesitant to say this but hell yes.

With some added production it’s right up there with You and I or Edge of Glory.
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Postby saranclaps » Sun Oct 14, 2018 9:58 pm

This was real good except for maybe the last five minutes—the non-linear flashbacks of the final song felt out of place (the songwriting scene could've worked earlier in the movie) and almost sorta cheesy (there was no such montages before), and the song shouldn't dropped all the instruments after 20-30 seconds of singing and just isolated Ally and her voice to hammer to potency and sorrow.
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