#1
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#2
i enjoyed high fidelity

come at me bro
#3
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#4
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#5
its funny because single woman with an attitude living in new york going to movies by herself is a perfect intro for a rom com. just a thought.
#6
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#7
you walk out of your movie and trip over something in the street (because all female protags in romcoms are clumsy.) you look up to see the gently smiling face of some hotass arab lookin dude. hes got some wacky problems of his own, in the form of a weird gay roommate portrayed by patton oswalt. anyway, after a few romantically funny dates, everything is going great until at a noisy club she mishears "i love you" as "i'm a jew." angry misunderstanding breakup scene, sad music montage scene as they both stare over new york, and he is about to give up until roommate is all you gotta follow your heart, honey!! and then the love interest makes a big play on getting her back by decapitating patton oswalt in times square. everybody claps as they embrace. directed by a MAN
#8
btw i never complained about how women movies treat male characters, just that i didn't go into them expecting to be offended by their lack of explosions and karate vampires
#9
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#10

discipline posted:

sometimes when I don't hear back from a boy I went on a date with, I sit there in my pajamas and eat ice cream straight out of the carton. naughty, I know, but sometimes a girl needs to pamper herself.

so you're oppressed because sometimes movies show women eating ice cream? jesus start a tumblr about it......

#11
red letter media owns a bit. imo
#12
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#13
i have never seen titanic
#14
whats wrong with eating a fuck load of ice cream. its tasty and demonstrates freedom from body image norms
#15
high fidelity is basically about a man sitting around in his pajamas and eating ice cream
#16
Wow that Joel sure does get around
#17
manic pixie stick dream girl
#18
male directors always depict women eating diets high in gluten and HFCS. completely unrealistic.
#19
suspension of disbelief only goes so far, mr. kubrick. put a falafel and hummus in that girl's hand already, jesus christ
#20
http://www.salon.com/2012/12/01/is_feminism_worth_defending_with_torture/

In the first few minutes of “Zero Dark Thirty,” Kathryn Bigelow’s mesmerizing and troubling chronicle of the hunt for Osama bin Laden, a young female CIA agent named Maya, played by Jessica Chastain, arrives at a “black site,” apparently in Pakistan. She enters a cell where a fellow agent played by Jason Clarke is questioning a purported al-Qaida moneyman. Away from the job, Clarke’s character turns out to be a likable guy, but here he’s an expert practitioner of the “enhanced coercive interrogation techniques” so popular in the early stages of the Iraq and Afghanistan conflicts. The detainee is hung by the ceiling with chains, repeatedly beaten and sexually humiliated, forced to soil himself and finally smothered with a towel that is then drenched with an entire jug of water. (That particular enhanced technique became especially well known.)

Whether Bigelow and her screenwriter and off-screen partner Mark Boal are actually arguing that torture is effective, or that it yielded useful information that helped lead to the killing of bin Laden, is ambiguous and sure to be the subject of much debate. Personally, I find the symbolic significance of this agonizing and confrontational scene more alluring. Bigelow, the first and only female director to win an Oscar, knows something about being a woman in a macho environment. Her films have rarely focused on female protagonists, and it’s hard to avoid the possible parallels between her and Maya. Beyond that come the bigger questions signified by Maya’s presence in that room. Does a society that produces female CIA agents (and reelects a black president) gain the right to commit atrocities in its own defense? Is torture justified if the torturer is a university-educated woman, and the tortured a bigoted Muslim fundamentalist?
#21
http://www.thedailybeast.com/articles/2012/12/17/dear-kathryn-bigelow-bret-easton-ellis-is-really-sorry.html
#22
Not once since I posted my Very First Tweet in 2009 (about the band The Gaslight Anthem) had I felt bummed out about something I tweeted.
#23
Thanks for making a thread to debunk the idea that sisterhood of the traveling pants is feminist film making.
#24

discipline posted:

Sisterhood of the Traveling Pants directed by Ken Kwapis
He's Just Not That Into You directed by Ken Kwapis
Sex in the City directed by Michael Patrick King
Sex in the City 2 directed by Michael Patrick King
The Notebook directed by Nick Cassavetes
My Big Fat Greek Wedding directed by Joel Zwick
The Devil Wears Prada directed by David Frankel
About a Boy directed by Chris Weitz and Paul Weitz
Knocked Up directed by Judd Apatow
Juno directed by Jason Reitman
High Fidelity directed by Stephen Frears
What to Expect When You're Expecting directed by Kirk Jones



arent most of those written by women though

#25
diablo cody is a man. i found this out when i checked their pants in a hollywood hills party
#26
no, sex and the city is written by a super gay dude
#27
ok so i just checked and sex and the city the show was created by a super gay dude, but the films were written and directed by different super gay dude.
#28
sex and the city is based on writing by candace bushnell
#29
sisterhood of the traveling pants was written by two women, and the sequel was written by two women and directed by a woman. the notebook was written by a man and a woman. my big fat greek whatever was written by a woman, the main actress. the devil wears prada was written and produced by three women. about a boy was a sausagefest. as were knocked up and high fidelity, which i'm not sure should be on the list anyway. juno, woman, what to expect when you're expecting, women
#30

getfiscal posted:

sex and the city is based on writing by candace bushnell



every character in sex and the city is a rich gay man in drag

#31
#32

discipline posted:

sometimes when I don't hear back from a boy I went on a date with, I sit there in my pajamas and eat ice cream straight out of the carton. naughty, I know, but sometimes a girl needs to pamper herself.



SAME

#33

Goethestein posted:

sisterhood of the traveling pants was written by two women, and the sequel was written by two women and directed by a woman. the notebook was written by a man and a woman. my big fat greek whatever was written by a woman, the main actress. the devil wears prada was written and produced by three women. about a boy was a sausagefest. as were knocked up and high fidelity, which i'm not sure should be on the list anyway. juno, woman, what to expect when you're expecting, women


Diablo Cody

#34

Goethestein posted:

every character in sex and the city is a rich gay man in drag


#35
I liked the part in fried green tomatos where she learns what it means to love and share your life with the help of her female relatives
#36
What about Winter's Bone, which was directed by a woman, starring a woman, and the screenplay was written by two women, but was based on a book written by a man?
#37
What about All films, which are produced and distributed almost exclusively through the male/jew dominated holly wood system
#38
"jews control the media" is one of those things that is demonstrably true, but you're not supposed to say, especially when you're interviewing at preschools
#39
500 days of summer is probably the least enjoyable movie i've ever watched
#40

Goethestein posted:

"jews control the media" is one of those things that is demonstrably true, but you're not supposed to say, especially when you're interviewing at preschools



http://blogs.timesofisrael.com/jews-do-control-the-media/

Manny Friedman

We Jews are a funny breed. We love to brag about every Jewish actor. Sometimes we even pretend an actor is Jewish just because we like him enough that we think he deserves to be on our team. We brag about Jewish authors, Jewish politicians, Jewish directors. Every time someone mentions any movie or book or piece of art, we inevitably say something like, “Did you know that he was Jewish?” That’s just how we roll.

We’re a driven group, and not just in regards to the art world. We have, for example, AIPAC, which was essentially constructed just to drive agenda in Washington DC. And it succeeds admirably. And we brag about it. Again, it’s just what we do.

But the funny part is when any anti-Semite or anti-Israel person starts to spout stuff like, “The Jews control the media!” and “The Jews control Washington!”

Suddenly we’re up in arms. We create huge campaigns to take these people down. We do what we can to put them out of work. We publish articles. We’ve created entire organizations that exist just to tell everyone that the Jews don’t control nothin’. No, we don’t control the media, we don’t have any more sway in DC than anyone else. No, no, no, we swear: We’re just like everybody else!

Does anyone else (who’s not a bigot) see the irony of this?

Let’s be honest with ourselves, here, fellow Jews. We do control the media. We’ve got so many dudes up in the executive offices in all the big movie production companies it’s almost obscene. Just about every movie or TV show, whether it be “Tropic Thunder” or “Curb Your Enthusiasm,” is rife with actors, directors, and writers who are Jewish. Did you know that all eight major film studios are run by Jews?


Pretty, pretty, pretty, pretty good. (photo credit: CC BY-SA Angela George/Wikimedia Commons)

But that’s not all. We also control the ads that go on those TV shows.

And let’s not forget AIPAC, every anti-Semite’s favorite punching bag. We’re talking an organization that’s practically the equivalent of the Elders of Zion. I’ll never forget when I was involved in Israeli advocacy in college and being at one of the many AIPAC conventions. A man literally stood in front of us and told us that their whole goal was to only work with top-50 school graduate students because they would eventually be the people making changes in the government. Here I am, an idealistic little kid that goes to a bottom 50 school (ASU) who wants to do some grassroots advocacy, and these guys are literally talking about infiltrating the government. Intense.

Now, I know what everyone will say. That everyone tries to lobby. Every minority group and every majority group. That every group has some successful actors and directors. But that’s a far call from saying that we run Hollywood and Madison Avenue. That the Mel Gibsons of the world are right in saying we’re deliberately using our power to take over the world. That we’ve got some crazy conspiracy going down.

Okay. Fine. So some of that is kooky talk.

But let’s look at it a bit deeper.

Maybe it’s true: everyone lobbies. Maybe it’s true there are actors of every ethnicity out there. But come on. We’re the ones who are bragging about this stuff all the time. Can’t we admit that we’re incredibly successful? Can’t we say it to the world?

I’ll give my theory for why Jews don’t want to talk about their control of the media.

First of all, as much as Jews like to admit that so many of them are successful, and that so many of them have accomplished so much, they hate to admit that it has to do with they’re being Jewish. Maybe they’ll admit that it has something to do with the Jewish experience. But how many Jews will admit that there is something inherently a part of every single one of them that helps them to accomplish amazing things?

The ADL chairman, Abe Foxman, was interviewed in a great article about the subject and he said that he “would prefer people say that many executives in the industry ‘happen to be Jewish.’” This just about sums up the party line.

The truth is, the anti-Semites got it right. We Jews have something planted in each one of us that makes us completely different from every group in the world. We’re talking about a group of people that just got put in death camps, endured pogroms, their whole families decimated. And then they came to America, the one place that ever really let them have as much power as they wanted, and suddenly they’re taking over. Please don’t tell me that any other group in the world has ever done that. Only the Jews. And we’ve done it before. That’s why the Jews were enslaved in Egypt. We were too successful. Go look at the Torah — it’s right there. And we did it in Germany too.

This ability to succeed, this inner drive, comes not from the years of education or any other sort of conditional factors, but because of the inner spark within each Jew.

Now, the reason groups like the ADL and AIPAC hate admitting this is because, first of all, they are secular organizations. Their whole agenda is to prove that every Jew is the same as every other person in the world. I cannot imagine a more outlandish agenda. No, we’re different. We’re special.

And clearly, that whole thing about big Jewish noses was totally blown out of proportion.

Of course, people hate when anyone says this. They assume that if you’re saying that Jews are special, it somehow implies that they’re better.

To be honest, I’m not really sure what the word “better” even means. What I do know is that being special simply means a person has a responsibility to do good.

I think that’s the real reason most Jews are so afraid to admit that there’s something inherently powerful and good about them. Not because they’re afraid of being special. But because they’re afraid of being responsible. It means that they’re suddenly culpable when they create dirty TV shows that sully the spiritual atmosphere of the world. It means that things can’t just be created for the sake of amusement or fun or even “art.”

Suddenly, we can’t screw up the world.

The interesting thing is that Jews have done so much for the world in so many other ways. They’ve moved forward civil rights; they’ve helped save lives in Darfur, Haiti and just about everywhere else.

But that’s not enough. Fixing the world physically is only half the battle.

Our larger battle, the harder battle, is elevating the world spiritually. And this is what the people that fight with every inch of their soul to prove that Jews are just the same as everyone else are afraid of. It means that we can no longer just “express ourselves.” We’ll have to start thinking about the things we create and the way we act. It means we’ll have to start working together. It means we’ll have to hold one other, and ourselves, to a higher standard.

The time has come, though. We no longer have to change our names. We no longer have to blend in like chameleons. We own a whole freaking country.

Instead, we can be proud of who we are, and simultaneously aware of our huge responsibility — and opportunity.