This is on Atlantis: The Lost Empire:
- Audience-Alienating Premise: The film basically stepped farther and farther from Disney's comfort zone with every decision taken by the producers. In the first place, its plot being basically a Diesel Punk version of Nadia: The Secret of Blue Water mixed with obscure esoterism demanded a very ambitious project, which would only play against the fact that those themes didn't have a clear cultural hook in United States or Europe (and unlike other Disney films, this one didn't have the advantage of being at least loosely adapting a more famous fiction work). Secondly, the gimmick of an action-adventure film with "fewer songs, more explosions" only turned the Disney brand against itself, as its usual target crowd would find it dark and unappealing, while non-Disney fans would be repelled by the fear it turned out to be yet another cheesy musical after all. The producers's insistence to make the film with hand-drawn animation (with only streaks of CGI) could have been overlooked, but at that time it only hurt its draw, as the audiences's interest had already switched to full-CGI pictures. And finally, the movie's chosen release date pitted against a strong competition, namely Shrek and Lara Croft: Tomb Raider, thus stacking even more odds against it. Ultimately, even if all of this later granted it a Cult Classic status, Atlantis had just too many audience-alienating traits to succeed.
![[up]](https://static.tvtropes.org/pmwiki/pub/smiles/arrow_up.png "[up]"){kind=icon}
I’ll take a crack at the Atlantis one once I get home in a couple of hours. It won’t be hard to get that to manageable size.
How about this:
- Audience-Alienating Premise: While there are a number of reasons Atlantis underperformed at the box office, the one most commonly attributed to its failure is that it was simply "too different" from what viewers expected from Disney. And to be fair, it did abandon the Disney formula of "sanitized retellings of fairy-tale standards with princesses and musical numbers" for a convoluted, non-musical, action-oriented spin on the sci-fi classic 20,000 Leagues Under the Sea. While that was a brave and ambitious move, it failed to capture the interest of audiences or the praise of critics. The intervening years have been kinder to the film, however, and now it enjoys Cult Classic status among fans.
Edited by HeavyMetalHermitCrab on Aug 22nd 2020 at 6:12:29 AM
I think AudienceAlienatingPremise.Live Action TV could do with a look at.
Nintendo Fanatic Extraordinaire
I suggest that for some very long entries, they can become subpages.
Better yet, when there's so many entries for a given medium, it would be best to split it off to its own subpage and have folders for them.
See here as well (which is about adding folders to various subpages): https://tvtropes.org/pmwiki/posts.php?discussion=15983760060A14419700&page=1
Can we get some consensus on the wall of text in Germans Love David Hasselhoff anime? The more it stays the more people will think its kosher for it to stay there.
Discord: Waido X 255#1372 If you cant contact me on TV Tropes do it here.
^ I'd cut it more for being gushing bullshit than wall of text, but if that's the reason you require, so be it.
Edited by HeavyMetalHermitCrab on Aug 29th 2020 at 9:44:54 AM
Cut the GermansLoveDavidHasselhoff.Anime And Manga wall of text, both for being a wall of text and a concerto for skinflute.
Trimmed down the Atlantis, Sonic Dork Age, and Slenderman entries even further. I've also done a preliminary trimming down the Bad Export for You entry on the previous page:
- Bad Export for You:
- This is the entirety of the Southeast Asia (SEA)/Taiwanese version. Not only does it contain numerous Dub Name Changes that conflict with Phantasy Star mythologynote and exploit Cut And Paste Translation in numerous areas, but damage formula/calculation is almost entirely wonky, ARKS Cash is ten times less valuablenote , a "Costume Affix" system and AC Rankings enforce heavy Pay To Win, and rebalancing came too early, forcing the game to ramp up in difficulty far earlier than in the Japanese versions. This came to a head when both versions basically let the contract expire because they were unable to keep the players on the service, and ultimately led to the game ending up becoming No Export for You to the region...
- While the NA version mostly averts this (almost equal to the Japanese version, with some Regional Bonus to boot), the translation job is frequently called into question, with several glaring inconsistencies and text parsing issues, as well as the removal of the majority of flavor text for what can only be assumed to be time constraints and lack of manpower (due to the massive amount of flavor text). The official translation is generally considered to be overall sloppier and of lower effort than the Fan Translation by those who are familiar with the fan patch. The Windows 10 version also has several framerate issues when dealing with multiple players in lobbies, apparently due to its use of the Microsoft Store.
- The monetization loop in the North American version is also a huge sticking point, as while premium currency is still mostly limited to cosmetics and minor conveniences, the rate at which the game chews through your Star Gems is massively increased due to the introduction of Mission Pass and Fresh Finds, both of which require large amounts of Star Gems to get actually good rewards from and whose cosmetics are untradeable, which puts players in danger of FOMO (fear of missing out) and pressures them to spend money before they miss a desired cosmetic. This is doubly compounded by the fact that there are less ways to get Star Gems; there are no shops that sell Star Gems via Global Currency Exception unlike the Japanese version, meaning that once you exhaust the supply you get from the Story, you're limited to event handouts, Mission Pass rewards, and rankings, the latter of which are very unreliable to get SG from unless you know what you're doing. The whole thing came to a head with the introduction of SG Scratch, which is not only a third SG sink introduced during a time where there are still no additional methods to earn SG, but the gacha nature means randomized rewards (unlike Mission Pass and Fresh Finds), the Scratch listing is significantly more bloated compared to its Japanese counterpart by adding in way more stuff, and it's also much shorter; while most SG Scratches in JP last for about half a year, NA's SG Scratch lasts for two months, hardly enough time to get a reasonable amount of SG to pull on it. All these factors together ended up convincing some players to stop paying, quit altogether, or change to the Japanese version.
- Bad Export for You:
- This is the entirety of the Southeast Asia (SEA)/Taiwanese version. It contains numerous Dub Name Changes that conflict with Phantasy Star mythology and exploits Cut And Paste Translation in numerous areas. The way the combat system calculates damage is almost entirely wonky. ARKS Cash is ten times less valuable. A "Costume Affix" system and AC Rankings heavily enforce Pay To Win mechanics. Finally a rebalancing patch came too early, forcing the game to ramp up in difficulty far earlier than in the Japanese versions. These problems eventually led to the publisher letting the contract expire because few players were playing the game.
- While the North American version mostly averts this — its gameplay is almost identical to the Japanese version, with some added Regional Bonus — the translation job is frequently derided for having several glaring inconsistencies and text parsing issues, and for missing the majority of the flavor text. Even so, the way the North American version handles Star Gems has proven a dealbreaker for some, as the increased requirements of Star Gems, the increased difficulty in obtaining them, and the decreased timeframe in which players can obtain certain items have led many players to quit the game or switch to the Japanese version.
Edited by HeavyMetalHermitCrab on Sep 1st 2020 at 3:05:51 AM
Angry babby
NightmareFuel.Last Week Tonight With John Oliver has this text on the top. It feels too gushy and possibly contentious.
EDIT: Page was cut, so this is for naught.
If the matters were not explored comedically then it'd be pretty hard to watch and, frankly, unappealing. After all, the show covers really serious issues like the USA's regular execution of a certain unknowable (but non-zero) number of innocent people, Middle Eastern children learning to fear clear skies due to American drone attacks, how 'The American Dream' is statistically dead given the role that inherited wealth plays in determining lifetime wealth, how inhumane the US prison system is, the extent to which American police are becoming more and more heavily-armed and trigger-happy to "keep people safe", the degree to which American police are abusing their power for collective and personal profit, how American loan companies seek to trap people in never-ending cycles of debt, how American 'journalism' is becoming more advertising than investigation and analysis, how laxly- and poorly-maintained 45% of the world's nuclear arsenal is, how US state governments are run by corrupt ideologues or useful idiots, how corporations like Philip Morris have the power to bully sovereign nations into giving up health laws, residents of US territories being denied the right to vote, and the extent to which American politics has already become "the shadow cast on society by big business" (John Dewey). John himself notes how the four segments regarding prison in season 2 before the one on prisoner reentry are more than enough to drive people into ice cream.
Luckily though — and this is partly what gets him so much praise — Oliver makes people more aware of these issues at least and gives them a means of helping at best. (Scholarships for women have coined the phrase "Oliver Bounce" because he managed to raise them so much money with his Miss America segment.)
Edited by mightymewtron on Sep 4th 2020 at 11:05:11 AM
I do some cleanup and then I enjoy shows you probably think are cringe.
I brought this up in the Woobie clean-up thread, but it seems to be more appropriate in this one, so here goes:
Rey's entry is far too long and most of them violates the spoiler policy. Do we really need a full summary of the whole Sequel Trilogy to give us an idea that this character's life suck?
- Rey, abandoned by her family as a child on a desert planet, yet even as an adult she's still still waiting for them to come and get her. When she does find a new surrogate father figure in Han, she immediately loses him when he's killed by Kylo Ren. And all this takes place in just the first movie of the sequel trilogy. You can't help but wonder how much more the girl may have to suffer in the next two films.
- As of Episode 8, things have only gotten bleaker for her. She discovers Luke has no hope of living up to her expectations as either a father figure or heroic mentor, instead being a depressed cynic who spends much of the film refusing to train her in anything. In her loneliness and despair, she begins reaching out to Kylo Ren of all people via their Force bond and eventually becomes fixated on the idea she can turn him back to the light. She also finally learns the truth - or rather, accepts the truth she always knew deep down - about her parents: not only are they never coming back for her, but they were complete jackasses who sold her for booze and never gave a damn about her (which kind of makes you wonder what on earth her early childhood with them was like). Kylo, the one person in the galaxy at this stage who truly understands her and whom she truly believed she could help, saves her from Snoke...only to reveal he's still entrenched in the First Order idealogy, asking her to rule the galaxy with him and making it plain he's not about to run off and join the Resistance with her, despite her pleading. Luke finally stops moping and redeems himself as a hero in her eyes by taking on the entire First Order alone to give her time to rescue the remaining Resistance fighters (of which there are only a handful now)...only for him to die afterwards, leaving her relatively alone in her quest to rebuild the Jedi. As if that weren't bad enough, Carrie Fisher's passing means that Rey's also inevitably going to lose Leia, who she seems to view as a mother figure and is her last living connection to Han and Luke (seeing as Kylo's too busy throwing hissy fits and trying to take over the galaxy to build on the bond they'd developed).
- Episode 9 makes it even worse for Rey. She finds out that her parents were murdered and actually were trying to protect her from her grandfather, who just so happens to be Emperor Palpatine of all people who he had an assassin try and hunt down and kill because he was scared that she would grow stronger than him and defeat him. Before learning this, Rey tries to stop a ship that she believes the captured Chewbacca in on using the Force, only to be pushed and use Force Lightning to destroy, making her believe that she killed one of the last connections to Han Solo. When she does find out he's alive and tries to rescue him, Ren attacks her and reveals her heritage, which leads her to becoming conflicted and nearly pull her to the Dark Side and kill Ren until she feels Leia reach out to him and die. She then tries to exile herself like Luke out of fear of her own powers and when she finally does confront Palpatine, this leads to her nearly giving into his plan of striking him down and becoming his new vessel. Then as a final kick in the gut to Rey, she finally succeeds in bringing Ben Solo back to the light and the two even accept their feelings for one another, only for him to die after using his remaining Force energy to heal her.
Edited by Adept on Sep 5th 2020 at 12:00:45 AM
Now a lurker. Thanks for everything. | he/him
This entry from the music subpage of Deader Than Disco is a bit long:
"Of all the acts that fell off at the turn of the '10s, few fell harder than T-Pain. After he was discovered by Akon, his popularity exploded with his 2005 debut album Rappa Ternt Sanga. As the title would suggest, he abandoned rapping early on in favor of singing. However, calling it "singing" was something of a stretch. The entire album was one big celebration of auto-tune, which T-Pain used to make his voice sound more robotic. Despite being panned by many critics, the use of auto-tune quickly caught on and produced two Top 10 hits with "I'm Sprung" and "I'm 'n Luv (Wit a Stripper)". He also helped rap legend E-40 have his first major pop hit by appearing on his 2006 track "U & Dat". His music became a staple of clubs and parties all over the world. He continued that success with his 2007 album Epiphany, which proved to be an even bigger success, as it produced his first #1 hit with "Buy U a Drank (Shawty Snappin')", became his first chart-topping album, and sold even more than his first album did. In early 2008, he also made Flo Rida a star by appearing on his debut 10-week #1 single "Low", making him inescapable everywhere. By this point, it seemed like everyone was following his lead with extensive use of auto-tune, as countless rappers and singers were mimicking his style. It looked like T-Pain was going to carry on as one of the leaders of modern hip-hop music. However, as he got more and more popular, an equally large backlash had also been forming. He was already widely disliked for his use of auto-tune that so many mimicked, as well as his lyrics that often glorified the use of alcohol and drugs and objectified women. Auto-Tune itself was also starting to get a backlash by the '10s, which may have been spearheaded by Jay-Z's hit "D.O.A. (Death of Auto-Tune)", made as a response to the omnipresence of the software. T-Pain began to be seen as a symbol of what was wrong with urban music, and while it wasn't immediately noticeable, the fall was beginning to take place. His 2008 album Thr 33 Ringz only peaked at #4 on charts despite being released a year after his last chart-topping album, producing one Top 10 with "Can't Believe It" that was powered by Lil Wayne, and two other songs that only barely scraped the Top 40. Aside from a minor success with DJ Khaled's "All I Do Is Win" in 2010, the transition to the '10s marked the beginning of the end for him. While 2011's REVOLVEЯ produced a #10 hit with "5 O'Clock", featuring Wiz Khalifa and Lily Allen, it was powered solely by a strong debut from Khalifa's fanbase, as he was a hot, fast-rising rapper at the time (and, to a lesser extent, some Americans deciding to give Allen a chance after ignoring her for years). The followup "Turn All the Lights On" (featuring Ne-Yo) failed to even reach the Hot 100; the album itself only debuted at a measly #28 and became his first album to not reach certification. Robotic auto-tune began to die out because of this; the many artists he influenced began to move away from that kind of sound. Not helping matters was hip-hop and R&B's general decline from being the mainstream genres, and the rise of Electronic Music supplanting it at clubs and parties. This may have been the result of hip-hop being flooded with obvious auto-tune in the first place. All of this left T-Pain in a tough spot since he couldn't easily escape the backlash to auto-tune due to being the Genre Popularizer for it. The fall became evident in 2013 when he released "Up Down (Do this all Day)", which featured B.o.B., and it reached a measly #62. The following year, he released a greatest hits album titled T-Pain Presents Happy Hour: The Greatest Hits, which didn't even make the Top 200. T-Pain's planned fourth album Stoicville was repeatedly delayed since 2014 and the three singles he released for it, "Stoicville", "Make that Shit Work" and "Roof on Fye", have failed to chart anywhere at all. His actual fourth album, Revolver, peaked at 25 on the U.S. charts, while his fifth and sixth didn't braek the top 100. Though still touring today and nowhere near as hated during his peak, T-Pain has gone from playing in massive arenas and headlining big events to playing in nightclubs, resorts, and small-name music festivals. His music is now viewed as emblematic of everything wrong with hip-hop in the mid-to-late '00s - trashy, excessive, misogynistic, annoying, and generally idiotic, something that is plaguing sub-genres ;ole t. It's telling when almost all of his music nowadays is completely forgotten, only remembered for the terrible lyrics and annoying auto-tuned voice that sang them. Even the songs that he was featured in have been forgotten by sheer association (who seriously remembers E-40's "U & Dat", Rick Ross' "The Boss" or Lil Mama's "Shawty Get Loose"?). "Buy U A Drank", "Low", and "All I Do Is Win" seem to be the only exceptions to this as they're the only songs to still get airplay on throwback stations, with his spot on "Low" making up most of it. He had a minor comeback in 2014 when he appeared on NPR's Tiny Desk Concerts video series, singing some of his old hits without the auto-tune and with a more soulful delivery. While the video racked up 13 million views, became a minor internet sensation, and was for a time the most viewed video in NPR's history, it did not result in him making any significant comeback on the charts. In early 2019, he won The Masked Singer, further proving he can sing without autotune, but it still didn't give him a sizable comeback. While "never say never" is the motto of the music industry, it'll be miraculous if T-Pain could ever crawl out of the hole he's fallen in."
I don't know enough about T-Pain to shorten it though. Could someone help with that?
TRS Queue | Works That Require Cleanup of Complaining | Troper Wall
Ran that through a word counter, and that is 1,001 words long. Never seen any wall of text that long before on TV Tropes.
Big Catch, Sparkle Edition
Heh... I've seen worse.
But yeah, that's so rough on the eyes.
Currently Working On: Incorruptible Pure Pureness
Now a lurker. Thanks for everything. | he/him
I definitely think it could be shortened, but as I said I know little about T-Pain, so I might not be the one to be able to do it.
From what I can decipher, the problem with the example is that it seems to describe every single thing that happened to T-Pain, along with quite a bit of complaining at the end. Perhaps the example could be cut down to remove unnecessary info and some of the complaining?
Edited by themayorofsimpleton on Sep 5th 2020 at 7:50:44 AM
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Now a lurker. Thanks for everything. | he/him
Actually hold that thought. I remembered another pretty awful wall of text I saw on the Film section of Dork Age:
"Although the seeds for it were planted years before (Sony canceling the Spider-Man Trilogy in favor of a reboot, Michael Lynton wanting to cut Sony's film slate and the notorious Tom Rothman joining the studio after leaving Fox), the second and current one for Sony Pictures began in late 2014, when a group of anonymous North Korean hackers called the Guardians of Peace leaked e-mails from them and revealed shocking information such as turning The Amazing Spider-Man Series into a similar universe as the Marvel Cinematic Universe (despite The Amazing Spider-Man 2 receiving mixed reactions and underperforming at the box office hard enough to become a Franchise Killer) and private employee records and financial documents, in addition to making threats about committing terrorist attacks in cinemas if they ever released The Interview, an action comedy centering on a plot to kill North Korean leader Kim Jong-un. As a result, Amy Pascal resigned her position and Sony cancelled its release before an outcry led it to be given a limited release and available for on demand viewing. In 2015, the aforementioned Tom Rothman was promoted as the new head of Sony, but several of their films under Columbia Pictures for that year were either critical and/or commercial failures (such as Aloha, Pixels, Chappie, Freaks of Nature (this was given a limited release), Concussion, and the sequel to Paul Blart: Mall Cop), with the only successes being Hotel Transylvania 2, Goosebumps and Spectre, along with Tri Star Pictures' Acclaimed Flop The Walk. A year later, it would get worse with the Box Office Bombs of The Fifth Wave, Pride and Prejudice and Zombies (released under Screen Gems), Grimsby, Ghostbusters (2016) (which wasn't helped by the baggage it carried with the flame wars it sparked online over the film's direction and cast), The Magnificent Seven (2016), Inferno, and Passengers, in addition to an exposé by Variety detailing accounts of Tom Rothman's feuds with senior Sony executives and how his management style was allegedly driving potential talent and producers away. On the other hand, The Angry Birds Movie, The Shallows, Don't Breathe (under Screen Gems) and Sausage Party did well at the box office. Sony also regained some goodwill by scrapping the Amazing Spider-Man films and making a deal with Marvel Studios to bring Spider-Man into the MCU (with Spidey getting his first film with Spider-Man: Homecoming).
Then things went further downhill in 2017. Although the company had the well-received Baby Driver (under Tri Star), Jumanji: Welcome to the Jungle, and the aforementioned Spider-Man: Homecoming (which they marketed and distributed) as critical and commercial hits, films like Underworld: Blood Wars, Life (2017), Resident Evil: The Final Chapter, Smurfs: The Lost Village, Rough Night, The Dark Tower, the remake of Flatliners, Only the Brave and Tri Star's All the Money in the World all bombed at the box office. Sony also ruined the goodwill they got with their Marvel Studios deal when they revealed their plans to make a Spider-Man villain-centric cinematic universe without Spider-Man, starting with Venom – suggesting that they were desperately looking to retain creative control, much like with the Amazing series. This revelation – coupled with Sony already bungling the aforementioned Amazing Spider-Man series – left many frustrated Spider-Man fans wanting the films to be failures such that Marvel Studios can fully regain the film rights and end Sony's continued meddling with the franchise. Sony Pictures has also suffered from Michael Lynton's departure, a backlash to the company's plans to release sanitized versions of their films, long-time television head Steve Mosko leaving, and their general reputation taking a major hit due to their attempts at marketing and releasing certain films (such as Ghostbusters, The Emoji Movie and Peter Rabbit), as well as their handling of the criticisms of the Ghostbusters trailers and a planned Barbie movie with the infamous Amy Schumer being largely reviled online.
The turmoil has gotten so bad that Sony has lost a number of talent and licenses. The Candy Land film rights ended up moving to Warner Bros. after a financing dispute with star and co-producer Adam Sandler (whose Happy Madison Productions company jumped ship to Netflix after Pixels bombed), the film rights to Barbie went to Warner Bros. after having been in Sony's radar for years (they also almost lost the film rights to fellow Mattel franchise Masters of the Universe in the process, having to shell out $15 million just to keep the rights for a few more years), the long-shelved third film of the Xx X series, Xx X Return Of Xander Cage, got made at Paramount instead, film financing partner Lone Star Funds ended their Sony deal two years early due to losses stemming from expensive flops, and high-profile producer Neal Moritz, who saw the writing on the wall after Passengers bombed (not to mention a number of feuds with Rothman), jumped ship to Paramount after having a first-look deal with Sony for over 20 years (taking the Sonic the Hedgehog project and movie rights with him). However, the biggest blow to Sony was losing the James Bond license with MGM and EON Productions choosing not to renew their partnership and instead teaming up Annapurna Pictures and Universal to co-finance and distribute future Bond movies (which wasn't helped by Spectre getting rocked by a Troubled Production that resulted in the film receiving mixed reactions and grossing less than the highly-acclaimed Skyfall). Sony was also shut out of a potential distribution deal with Hasbro Studios to help release My Little Pony: The Movie (the rights ended up going to Lionsgate). Add all this together, and Sony Pictures took a $1 billion-dollar write-down for 2017, which in turn resulted in sale rumors, an attempt by CBS Corporation to buy Sony's film and TV assets, and a failed attempt to move the studio under Sony's gaming division. Talk about a dysfunctional studio.
However, 2018 has seen a mild improvement in Sony's fortunes, with films like Peter Rabbit, Sicario: Day of the Soldado, Searching (under Screen Gems), The Equalizer 2, Goosebumps 2: Haunted Halloween, and Sony Pictures Animation's Hotel Transylvania 3: Summer Vacation and Spider-Man: Into the Spider-Verse managing to be financial successes, as well as the Acclaimed Flop Alpha, but Slender Man (also under Screen Gems) became the target of both mockery for being based on a creepypasta character that had long since fallen out of popularity, and criticism for seemingly taking its plot from the real-life Slender Man stabbing incident, which contributed significantly to Slender Man's fall in popularity. Not helping matters was the eventual release of Venom, which despite impressive box office numbers received negative critical reception over the film's unnecessarily light-hearted tone and confusing plot, casting a cloud on Sony's non-Spider-Man cinematic universe (which had already drawn a lot of flak for trying to divorce a lot of Spidey's villains from Spidey). Despite that movie being a box office hit, Sony ended up closing the year with the flop Holmes & Watson, which Sony had tried and failed to sell to Netflix after poor test screenings and became one of the worst-reviewed comedy films ever released once critics were able to see it (to the point where some cinemas reported audiences leaving the theater halfway through the film), subsequently winning the Razzie Award for Worst Picture (making it the second Sony Pictures movie in a row after The Emoji Movie to win the Razzies' top "award", and marking the second time such a streak occurred for Sony after Swept Away and Gigli in 2002 and 2003 respectively) and marking a massive misfire for stars Will Ferrell and John C. Reilly, the latter of whom won the Razzie Award for Worst Supporting Actor for his performance. By then, many began to question Sony's continued commitment to mass media.
2019 started to show real improvements for Sony in its turnaround efforts. Escape Room and A Dog's Way Home were surprise Sleeper Hits despite otherwise mixed reception for both, and their summer slate consisted of two big hits, Once Upon a Time in Hollywood and Spider-Man: Far From Home, that helped offset losses from its other summer tent-poles, Men in Black: International (which had mixed-to-negative critical reception) and the well-received-but-poorly-marketed The Angry Birds Movie 2. Though the victory lap almost came to a screeching halt when Sony and Marvel were unable to come to terms on a new agreement regarding Spider-Man's future in the MCU, leading to widespread fears that Sony will yet again run the franchise to the ground and potentially result in yet another reboot, the two companies eventually made amends a month later with announcement that the third film will, in fact, be produced by Marvel Studios."
This just feels like a very negative biography about Sony Pictures. If it can be salvaged at all, it should probably be cut down IMO. Anyone else agree?
Edit: Word count says 1,444 words. I'm sure this can be cut down.
Edited by themayorofsimpleton on Sep 5th 2020 at 8:05:35 AM
TRS Queue | Works That Require Cleanup of Complaining | Troper Wall
Big Catch, Sparkle Edition
Owww, scrolling through that made my eyes hurt.
Big Catch, Sparkle Edition
YMMV.Doctor Who needs a look. It has a lot of long examples, as do the subpages... but as someone who hasn't watched the show (yet) I can't fix them personally.
Currently Working On: Incorruptible Pure Pureness
I brought this example from Blade Runner 2049 up in the Broken Base clean-up thread, where it was suggested that it could do with some trimming:
- Broken Base: The film's portrayal of women is also a source of division. The film is at times extremely Male Gaze-y and its setting is unambiguously misogynistic (as was that of the original, but 2049 arguably takes this further), with women mostly being relegated to roles of sex workers, victims, or "holographic housewives", but there's disagreement over whether the film steps over into endorsing the misogyny of its setting. For his part, director Denis Villeneuve says that it is not intended to do so: "Blade Runner is not about tomorrow; it's about today. And I'm sorry, but the world is not kind on women." Some of the film's defenders have argued that the film can be read as a parable about fertility, perhaps comparable in some ways to The Handmaid's Tale or Children of Men — its villain, Niander Wallace, is obsessed with fertility, essentially "consumed by rage that women can do something he cannot", as Helen Lewis argued in the New Statesman:
- "Fertility is the perfect theme for the dystopia of Blade Runner 2049, because of the western elite anxiety that over-educated, over-liberated women are having fewer children, or choosing to opt out of childbearing altogether ... Feminism is one potential solution to this problem: removing the barriers which make women feel that motherhood is a closing of doors. Another is to take flight, and find another exploitable class to replace human females ... Maybe androids don't dream of electric sheep, but some human men certainly dream of electric wombs."
- Writing in Moviepilot, meanwhile, Rachael Kaines argues that the theme of the entire setting is that of "second-class citizens. Replicants. Orphans. Women. Slaves. Just by depicting these secondary citizens in subjugation doesn't mean that it is supportive of these depictions - they are a condemnation." (Kaines' interpretation is arguably in keeping with Do Androids Dream of Electric Sheep? as well, as Dick intended society's dehumanisation of androids to have applicability to all forms of societal oppression; the novel was explicitly constructed as a deconstruction of the mindset that produced the Holocaust, but due to Dick's subtlety, many readers missed his intended meaning.) Despite these defences, the film's portrayal of its female characters and some of its plot elements (particularly the violence against women) remains a point of contention, and women overall seem to have responded less readily to the film, which may have been a factor in its relatively middling box office performance.
Now a lurker. Thanks for everything. | he/him
Unfortunately I can't help with the Doctor Who stuff because I haven't watched the show in years and barely remember anything about it.
Anyone open to tackle the mammoth Dork Age example?
TRS Queue | Works That Require Cleanup of Complaining | Troper Wall
Now a lurker. Thanks for everything. | he/him
Actually never mind, I tried my hand at a rewrite:
- The second and current one began in 2014, when a massive hack perpetrated by a group of anonymous North Korean hackers, seeking revenge on Sony after they decided to release the anti-North Korean film The Interview, revealed massive amounts of damaging and highly controversial information about several then-upcoming movies. A subsequent management shake-up resulted in the controversial Tom Rothman becoming head of the company. What followed was multiple years of box-office duds and critically-mauled movies such as Pixels, Aloha, Ghostbusters (2016), Passengers, and Holmes & Watson, as well as a mass exodus of creative talent from the company. The nadir of all of this was the critical disaster of The Emoji Movie, which became a target of internet mockery for its premise, perceived unoriginality, and blatant Product Placement, among other things. Sony also lost the rights to the James Bond license and was briefly entangled in a dispute with Marvel Studios over the rights to Spider-Man. Not even the few successes (Spider-Man: Homecoming, Sausage Party, The Angry Birds Movie) have been able to resuscitate the company's fortunes.
What do you think? Too complain-y? Too long?
Edited by themayorofsimpleton on Sep 10th 2020 at 2:24:26 PM
TRS Queue | Works That Require Cleanup of Complaining | Troper Wall
You can trim down the part about The Emoji Movie.
Now a lurker. Thanks for everything. | he/him
Alright I tried. Don't think I did a particularly great job though
- The second and current one began in 2014, when a massive hack perpetrated by a group of anonymous North Korean hackers, seeking revenge on Sony after they decided to release The Interview, revealed massive amounts of damaging and highly controversial information about several then-upcoming movies. A subsequent management shake-up resulted in the controversial Tom Rothman becoming head of the company. What followed was multiple years of box-office duds and critically-mauled disasters such as Pixels, Aloha, Ghostbusters (2016), Passengers, and Holmes & Watson, culminating in the critical bomb and frequent target of internet mockery The Emoji Movie. Sony also lost the rights to James Bond and was briefly entangled in a dispute with Marvel Studios over the rights to Spider-Man. Not even the few successes (Spider-Man: Homecoming, Sausage Party, The Angry Birds Movie) have been able to resuscitate the company's fortunes.
Edited by themayorofsimpleton on Sep 10th 2020 at 3:17:36 PM
TRS Queue | Works That Require Cleanup of Complaining | Troper Wall
I've edited the above paragraph for clarity and a bit of word cruft:
The second and current one began in 2014, after North Korean hackers obtained and distributed tons of damaging and highly controversial information about several then-upcoming movies. This prompted a management shake-up which resulted in the controversial Tom Rothman becoming head of the company. What followed was multiple years of box-office duds and critically-mauled disasters such as Pixels, Holmes & Watson, and The Emoji Movie. Sony also lost the rights to James Bond and was briefly entangled in a dispute with Marvel Studios over the rights to Spider-Man. While the company has had a few successes during this period, such as Spider-Man: Homecoming, Sausage Party, and The Angry Birds Movie, these have not been enough to resuscitate the company's fortunes.
Edited by HeavyMetalHermitCrab on Sep 10th 2020 at 2:06:27 AM
God, FranchiseOriginalSin.Western Animation really needs a clean-up. A lot of the entries are definitely longer than necessary.
"Let’s see who’s stronger: someone that has something to protect, or someone that has nothing to lose."