Cashless Society

Well, his IMDB page has over 200 credits, so one could assume that Blanchett was a deviation rather than the standard. On the other hand he could be doing a generally bad job of dialect coaching but if 90% of the audience is unbothered, is the opinion of the remaining 10% going to matter in terms of him getting the next gig? Another reason could be that he's easy to work with. I'm nowhere near the film industry, but given how insiders describe it; it doesn't really matter if you're the best person for the job, if the important individuals don't feel comfortable working with you then you're not going to be seeing a lot of work.

Black Widow was not a good movie, I thought it was one of the more forgettable entries in the MCU. Made we wish they'd done an origin story about Natasha's defection to the US, written by Joel Fields and Joe Weisberg, now that would've been a more interesting movie. I'm really amazed at the overwhelmingly positive reception that it's getting, but I wonder how people would look back on it say, 5 years from now. Tim Monich was her dialect coach. His other credits include The Trial of The Chicago 7, Ford V Ferrari, A Star is Born, Silence, The Great Wall, The Wolf of Wall Street and Django Unchained. He's also worked with Cate in other movies such as The Good German, I'm Not There, Hannah and The House with the Clock on its Walls. So maybe it's just a limitation of the actor/actress instead of the dialect coach. Charles Dance had a dialect coach for playing William Randolph Hurst in Mank but he still ended up sounding extremely British.

Emily in Paris got a nomination, how? Yeah, it was only a matter of time before "Peak TV" became bog standard TV.

Got to watch Insomnia last night. Definitely the least Nolan-esque movie his catalogue. I thought it would be fun to see him do a straightforward story but nope, this story was done in such a painfully mechanical manner that I don't believe Nolan is capable of telling a decent story without fiddling with time concepts. Nolan just said screw let's dedicate the first 30 min to plot and then the next 20 to character and then back to plot and then the main character is going to spiral outta control and then, at this very moment, have him confide in this other character (even though it doesn't make sense) and then we'll wrap it up in the last 15 or so minutes. Only watch this movie if you wanna compare early 2000s Nolan with 2010s Nolan. Also, I never realised how true the statement "IMAX made Nolan a better director" was. But I'd like to add, "but it also made him a weaker storyteller".

So many questions this episode left us on, I hope that the fan theories don't turn out to be significantly better than the answers the show will give us.

Watched Great Expectations with Ethan Hawke and Gwenyth Paltrow and it's a really weak movie, I can't believe Alfonso Cuaron chose to direct this movie because he was that desperate for a paycheck. I really hope it was worth it, like "Michael Caine did Jaws 4" for the money levels of worth it. Also watched Guillermo del Toro's Cronos which was an unconventional and unique take on vampire stories. Love the way that del Toro makes great use of colour and symbolism to create lovely visuals and an immersive atmosphere; the only problem was the runtime being a little short

Well, apparently Nolan's usual editor was busy working on 1917 so he had to get someone else to edit this film (this person usually works with Noah Baumbach), which explains a few of the editorial problems that Tenet has.

Thanks for clearing things up @Ran. As for this episode

I'm a little confused on the whole Molly and Sarah aspect of this show:

But anger doesn't always have to be portrayed in a way where the character snaps and loses control the way most tv and movies do. For me, Raylan carried himself in a way that showed restrained anger and, correct me if I'm wrong, wasn't Raylan taken aback by Winona's assessment of him because he thought he had hidden this aspect of himself away from her so well? I'm familiar with Price's work in movies and tv; but I'll definitely check out the books he's written at some point.

Watched Spike Lee's Clockers. Felt very much like an up-and-coming filmmaker's kinda movie, which is kinda weird given that Spike had already made great movies like She's Gotta Have It, Do The Right Thing and Malcolm X by this point in his career so this was a big step backwards. Also made me realize that maybe film isn't the best medium to tell this type of story given that this felt like a draft of what this story could be (The Wire). I haven't watched Justified in a long time; but I did get the feeling when watching it that his issues with his father played a large role in his characterization. Like why does Raylan usually try to escalate situations to satisfy his shoot first ask questions later instincts? Or why he gears conversations in a way where there's a winner (usually him) and a loser?

To the bolded, I'm pretty sure most modern established storytelling conventions for visual media would prevent this from happening, wouldn't you usually find those aspects explored more in novels? Besides, how many successful movies and tv shows can you name that actually follow through with the setting that they've chosen? (Also, it doesn't necessarily have limited to the SF/F genre).

I think the best move for Whedon is to go the Mel Gibson route: work with anyone who'll work with you; build some connections with industry insiders; let your colleagues make the arguments for you; after a couple of years, there will be so many controversies that people will have forgotten why you got cancelled in the first place; and finally get welcomed back into the mainstream (he might just even get an Academy Award nomination at the end of all of this). Alternatively, he could just become Polanski 2.0 where people won't let anybody forget this.

Depends on who you mean by "anyone"?

From my understanding, the detractors are against this movie's historical accuracy; where the creative liberties taken did not create a better story (like The Social Network) but rather a worse one. A lot of people felt as though Sorkin did not do justice to the beliefs of the historical figures by forcibly writing them so that they would align with his more centre-left politics as opposed to their more progressive ideals. If you were to compare the events depicted in this film with what happened in reality; and then contrast it with the events depicted in the tangentially related Judas and the Black Messiah with happened in reality, you can see why people think that Trial of the Chicago 7 should not have received an Oscar nom.