Quotes: Deader Than Disco


I like pop, I like soul, I like rock, but I never liked disco!
Everclear, "AM Radio"

Live-Action TV

That's it. We're deader than tank tops!
The Cat, Red Dwarf

Web Animation

"So Mad Max, or, as it's called in its native land, 'Med Mex', finally rolls into Video Game Town... only to find that the industry is way ahead of it and we've already played what might as well have been the Mad Max video game about seventeen times already by my count, between Borderlands, Rage, Carmageddon, the entire Fallout franchise and, to a lesser extent, Mario Kart."

Web Original

"My theory on the backlash to this film has less to do with the quality of what's on the screen and what it represents; a pre-postmodern America of the pulps and the frontier, an America of possibility that's lost to us now. John Carter, Warlord of Mars is definitely not a postmodern superhero, and can't be revised to postmodernity the way Guy Ritchie's Sherlock Holmes was."

"At a certain point, with age, we lose our grip on which ideas are cyclical and which ideas are perpetual and which ideas have died out. Madonna is just mimicking modes of edginess that worked for her in the past—that were new and important in the past—but what was once progressive nearly always becomes regressive. Because we learn so much all the time. The racial exploitation of Sex-era Madonna was provocative once; now it's just exploitation. So when do we cut our idols loose? When does the Queen of Reinvention run out of raw materials and turn into the, um, Lesser Duchess of Recycling?"

"There were his omnipresent black clothes and ponytail, constants that became more comical with each film. The way his acting never got any better. The stupid way he would hold his pistol sideways all the time. The fact that no one ever shot him from a distance, but invariably walked up to him so that he could do that gun flipping move he trotted out every movie. The silly way he squinched his face when he was supposed to be pissed off. The lack of an adversary who could even marginally challenge the omnipotent Seagal, which eventually sort of lowered the suspense level. Even Seagal’s trademark fighting move, quickly grabbing and snapping an opponent’s arm, became farcical the forty or fiftieth time you saw it."
Jabootu on On Deadly Ground

"It was a genuine smash hit. But just a few years later, the critics hated it. It went from being called a masterpiece to masturbatory. In some cases, the same people who’d initially given it perfect scores were now mocking it openly, as if it had somehow changed for the worse. It hadn’t, of course, but this didn’t stop them from changing their minds. Calling it convoluted, pretentious, and full of 'metababble', they joined the fans in demanding answers, customer satisfaction, and justice from series creator Hideo Kojima."
Terry Wolf, MGS2: A Complete Breakdown"

Web Video

"If you take a film like The Princess Bride, which had moderate success in theatres, but went on to eventually become a famous part of popular culture, Insurrection is the flip side of the coin, hitting theaters hard, but then falling flat on its face. While it is now critically mixed, at the time, a substantial number said that it broke the odd-numbered rule. I know it sounds unbelievable, but that's because it's a movie that doesn't stand the test of time."

"For the most part, everyone hates it now; you, everyone looks back on those prequels like, "ooohh, those things were dogshit, Jar-Jar Binks sucked." Everyone hates it. Now, everyone talks about George Lucas like he's a fuckin' idiot, he "ruined" Star Wars, y'know, blah blah blah.

NO. Back in the day, when
Phantom Menace came out. EVERYONE. LOVED. THE PHANTOM MENACE. Roger Ebert, all the major critics HIGHLY REVIEWED The Phantom Menace. People walked outta there COMPLETELY SATISFIED with The Phantom Menace''.

Real Life

"It does not look remarkable different from Next Generation, in my opinion. I think it is edited in the same way, the way it’s staged, the direction that they’re allowed to do, how they tell a story, the lighting scheme – a lot of it is very, very redolent of Next Generation… It has not moved on with television. It’s still stuck in a very old groove."
Ron D. Moore on Star Trek: Enterprise