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** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast1946 the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
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** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast1946 the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast [[WesternAnimation/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
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* One can read a thematic arc into Kyle's videos from September to November 2014 (so far) discussing film-making, surrealism and what exactly ''is'' a movie:
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* One can read a thematic arc into Kyle's videos from September to November 2014 (so far) late 2014, discussing film-making, surrealism and what exactly ''is'' a movie:
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** Third, the ''{{Inception}}'' Between the Lines video: again exploring the differences between 'conventional' movies and 'artistic' films, comparing a popular movie often described as surreal and the films accepted in a surreal canon. However, Kyle examines the connections and similarities between these brands of film-making (see again, intertextuality), and also the ''inherent'' surreality of films: that they are all dream-like.
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** Third, the ''{{Inception}}'' ''Film/{{Inception}}'' Between the Lines video: again exploring the differences between 'conventional' movies and 'artistic' films, comparing a popular movie often described as surreal and the films accepted in a surreal canon. However, Kyle examines the connections and similarities between these brands of film-making (see again, intertextuality), and also the ''inherent'' surreality of films: that they are all dream-like.
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Changed line(s) 6 (click to see context) from:
** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
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** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast [[Film/BeautyAndTheBeast1946 the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
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** Second, ''{{Blue}}'': a movie that consciously rejects other movies, and that it is a movie, by abandoning the uniting factor between seemingly all movies: that they are ''moving images''.
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** Second, ''{{Blue}}'': ''Blue'': a movie that consciously rejects other movies, and that it is a movie, by abandoning the uniting factor between seemingly all movies: that they are ''moving images''.
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** Fourth, ''[[{{Gerry}} Gerry (Redux)]]''. Another movie that not trying to be a movie, like Blue (although unlike Blue, it definitely counts as a moving image) -- however ''Gerry'' is trying to be something else in particular, a video game. ''Gerry'' can easily be seen as the counterpoint to ''Inception'': it's a movie that often doesn't make those dream-like leaps in time, logic and location.
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** Fourth, ''[[{{Gerry}} ''[[Film/{{Gerry}} Gerry (Redux)]]''. Another movie that not trying to be a movie, like Blue (although unlike Blue, it definitely counts as a moving image) -- however ''Gerry'' is trying to be something else in particular, a video game. ''Gerry'' can easily be seen as the counterpoint to ''Inception'': it's a movie that often doesn't make those dream-like leaps in time, logic and location.
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Changed line(s) 5 (click to see context) from:
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* One can read a thematic arc into Kyle's videos from September to November 2014 (so far) discussing film-making, surrealism and what exactly ''is'' a movie:
** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
** Second, ''{{Blue}}'': a movie that consciously rejects other movies, and that it is a movie, by abandoning the uniting factor between seemingly all movies: that they are ''moving images''.
** Third, the ''{{Inception}}'' Between the Lines video: again exploring the differences between 'conventional' movies and 'artistic' films, comparing a popular movie often described as surreal and the films accepted in a surreal canon. However, Kyle examines the connections and similarities between these brands of film-making (see again, intertextuality), and also the ''inherent'' surreality of films: that they are all dream-like.
** Fourth, ''[[{{Gerry}} Gerry (Redux)]]''. Another movie that not trying to be a movie, like Blue (although unlike Blue, it definitely counts as a moving image) -- however ''Gerry'' is trying to be something else in particular, a video game. ''Gerry'' can easily be seen as the counterpoint to ''Inception'': it's a movie that often doesn't make those dream-like leaps in time, logic and location.
** Fifth, and obviously, ''This is Not a Film'', another movie that's not a movie, but this time, it's because it's forbidden by law to be so. Unlike ''Blue'' and ''Gerry'', which reject the film and imitate another form of art respectively, ''This is Not a Film'' has to imitate a film, keeping just on the edge of what is legally defined as film-making -- until the end, where that boundary is transgressed. As such, it examines where that boundary is, especially given how easy video recording has become: that there is a thriving community of cheap and quick film-making that often wouldn't be considered as such, and ''This is Not a Film'' falls somewhere between that and 'proper' films.
** First, the Beauty and the Beast three-parter which contrasts [[Film/BeautyAndTheBeast the artsy, surrealist form]] with the [[Disney/BeautyAndTheBeast conventional, popularly beloved form]] of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of ''Literature/BeautyAndTheBeast'', and works inspired by it.
** Second, ''{{Blue}}'': a movie that consciously rejects other movies, and that it is a movie, by abandoning the uniting factor between seemingly all movies: that they are ''moving images''.
** Third, the ''{{Inception}}'' Between the Lines video: again exploring the differences between 'conventional' movies and 'artistic' films, comparing a popular movie often described as surreal and the films accepted in a surreal canon. However, Kyle examines the connections and similarities between these brands of film-making (see again, intertextuality), and also the ''inherent'' surreality of films: that they are all dream-like.
** Fourth, ''[[{{Gerry}} Gerry (Redux)]]''. Another movie that not trying to be a movie, like Blue (although unlike Blue, it definitely counts as a moving image) -- however ''Gerry'' is trying to be something else in particular, a video game. ''Gerry'' can easily be seen as the counterpoint to ''Inception'': it's a movie that often doesn't make those dream-like leaps in time, logic and location.
** Fifth, and obviously, ''This is Not a Film'', another movie that's not a movie, but this time, it's because it's forbidden by law to be so. Unlike ''Blue'' and ''Gerry'', which reject the film and imitate another form of art respectively, ''This is Not a Film'' has to imitate a film, keeping just on the edge of what is legally defined as film-making -- until the end, where that boundary is transgressed. As such, it examines where that boundary is, especially given how easy video recording has become: that there is a thriving community of cheap and quick film-making that often wouldn't be considered as such, and ''This is Not a Film'' falls somewhere between that and 'proper' films.
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* He notes in ''Anonymous'' that everything directed by Roland Emmerich has one unifying theme: Roland doesn't like facts, but he loves ''theories'' and every one of his movies is basically an actionized "what if this crazy theory was true" what-if scenario. (He then regretfully notes that ''Film/TheDayAfterTomorrow'' is the only one based on a theory that was actually correct and says "YOU ARE NOT HELPING!")
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* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[WebVideo/ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just ''just'' concern for a friend; consider that his character has [[WebVideo/ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[WebVideo/ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[WebVideo/ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]]]
** It gets even worse when you remember that out of character, Matthew had a friend who committed suicide.
** It gets even worse when you remember that out of character, Matthew had a friend who committed suicide.
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Changed line(s) 6,7 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she (Ven) already know that? She was seen earlier in the episode drawing the review's bumper art.
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* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she he (Ven) already know that? She He was seen earlier in the episode drawing the review's bumper art.
%% Ven identifies as male. Please use male pronouns.
%% Ven identifies as male. Please use male pronouns.
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Changed line(s) 9 (click to see context) from:
* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[ToBoldlyFlee [[WebVideo/ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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Changed line(s) 6,7 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he (Ven) already know that? He was seen earlier in the episode drawing the review's bumper art.
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* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he she (Ven) already know that? He She was seen earlier in the episode drawing the review's bumper art.
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Changed line(s) 6 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he (Ven) already know that? He was seen earlier in the episode drawing the review's bumper art.
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* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he (Ven) already know that? He was seen earlier in the episode drawing the review's bumper art.art.
!!FridgeHorror
* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
!!FridgeHorror
* During the ''Melancholia'' commentary, Kyle points out that Film Brain's concerned reaction to Kyle's sudden depression isn't just concern for a friend; consider that his character has [[ToBoldlyFlee previously lost another colleague who was noticeably depressed earlier that year...]]
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Didn\'t I say Ven identifies as male?
Changed line(s) 6 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she already know that? She was seen earlier in the episode drawing the review's bumper art.
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* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she he (Ven) already know that? She He was seen earlier in the episode drawing the review's bumper art.
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* Note Kyle averts having a GagCensor during the "moonlight bathing" scene of ''Melancholia''. Obviously the scene would be impossible to take seriously if it had still been covered that way.
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* Note Kyle averts having a GagCensor during the "moonlight bathing" scene of ''Melancholia''. Obviously the scene would be impossible to take seriously if it had still been covered that way.
way, as he was taking it seriously.
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Whoops. Awk.
Changed line(s) 6 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he already know that? He was seen earlier in the episode drawing the review's bumper art.
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* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he she already know that? He She was seen earlier in the episode drawing the review's bumper art.
Is there an issue? Send a MessageReason:
Ven identifies as male.
Changed line(s) 6 (click to see context) from:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she already know that? She was seen earlier in the episode drawing the review's bumper art.
to:
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she he already know that? She He was seen earlier in the episode drawing the review's bumper art.
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Added DiffLines:
!!FridgeBrilliance
* In the ''Trash Humpers'' episode, Oancitizen declares that "our words are backed with nuclear weapons!" Of course, this is a quote from ''VideoGame/{{Civilization}}'', but keep in mind what happened at the end of the ''Ken Park'' review.
* Note Kyle averts having a GagCensor during the "moonlight bathing" scene of ''Melancholia''. Obviously the scene would be impossible to take seriously if it had still been covered that way.
!!FridgeLogic
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she already know that? She was seen earlier in the episode drawing the review's bumper art.
* In the ''Trash Humpers'' episode, Oancitizen declares that "our words are backed with nuclear weapons!" Of course, this is a quote from ''VideoGame/{{Civilization}}'', but keep in mind what happened at the end of the ''Ken Park'' review.
* Note Kyle averts having a GagCensor during the "moonlight bathing" scene of ''Melancholia''. Obviously the scene would be impossible to take seriously if it had still been covered that way.
!!FridgeLogic
* At the end of the ''Melancholia'' review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't she already know that? She was seen earlier in the episode drawing the review's bumper art.
