DrRexMorman t1_jeguvsu wrote

With the exception of your knock against Jurassic Park 3 (which is the 2nd best Jurassic Park movie and a fine "B" monster film on its own), I like your critiques: JP 2 is a super disjointed movie.

>Why is Roland Tembo not present in the final act when the objective of the final act is to capture the bull tyrannosaur?

Why didn't we get a 6-10 episode season of White Lotus that follows Roland Tembo trying to keep a group of upper/middle class tourists and middle/lower class park staff alive after being stranded with them on Isla Nublar?

Why did the second act of the move involve the ostensibly "good" characters making an incredibly cruel choice that led to the deaths of the ostensibly "bad" characters (who were just working stiffs)?


DrRexMorman t1_jeetj8l wrote

I wanted to like it, but the reveal that Batman >!had an affair with Batgirl while she was dating Robin i!< retroactively ruined Batman the animated series, for me.


DrRexMorman t1_jedd7id wrote


Like the rest of us, Disney's had a rough 3 years: the CEO who loaded the company up with a slate of expensive and complicated ips replaced himself with a guy who probably committed fraud. The cracks are showing.


Marvel's phase 3 was 25 hours long.

Marvel's phase 4 was 47 hours long - which is a lot.


Marvel's cinematic universe turns 15 in May. Its creators have released a slate of moves that replace legacy characters and - in some instances - challenge their legacy. This move has proven to be less popular and lucrative than elements of the previous slate.


Marvel/WB have made some missteps in terms of production (casting/content/release/etc) that have shifted the metanarrative about these movies from "wow, can't wait for the next one" to "lol, that guy is a villain in real life" - which is not where marketers want the metanarratve to be.


DrRexMorman t1_jebtl8t wrote

There are 3 moderate budget pirate tv shows airing or set to premiere right now.

But movies are another story. Take a look at how these non-Jack Sparrow pirate movies performed and you will see why Hollywood is reluctant to make pirate movies:

2020 - Wendy

2015 - Pan

2013 - Captain Philips

2012 - Ice Age 5 (?)

2012 - Pirates!

2012 - One piece

2012 - A hijacking

2008 - The Pirates who don’t do anything

2003 - Sinbad

2003 - Peter Pan


DrRexMorman t1_jdwa0tn wrote

>Indiana Jones and probably more lately because of the shitty 4th movie and possibly (likely) shitty 5th movie. Indy could (should?) have done more to stop hitler and maybe his hero worship should be reconsidered because he sort of responded very passively when he faced him face-to-face

God, who is explicitly anti-Nazi in Raiders of the Lost Ark, gave the ark of the covenant to Indiana Jones.

The US gov put it in storage.

Ergo, the US gov is responsible for the Holocaust.

It's a clever condemnation of the US' inaction.

>Why didn't the wizarding world mother fuckers decide to break their anonynomity and help the muggles out?

Grindlewald argues that he should be made king of the wizards to prevent the muggles from fighting World War ii at the conclusion of Fantastic beasts 2.

I suspect future Fantastic beasts movies would have addressed that.


DrRexMorman t1_jdufrp5 wrote

Julia Roberts did study acting.

Jimmy Stewart, Bette Davis, Katharine Hepburn, Tilda Swinton, Humphrey Bogart, Jack Nicholson, Jean Gabin, Sidney Poitier, Anthony Quinn, Amy Adams, and Tommy Jones all had apprenticeships as repertory players in theater companies.

Most of the rest were child stars or had family connections to industry.

Renee Zellweger (who acted in college) and Jonny Depp found their way to it.


DrRexMorman t1_jdq0r26 wrote

>melting Nazi from Indiana Jones however I think that one was not very good and too fake

I like this one, a lot:


It's fun it is watching the Blues Brothers drive a car into a crowd of Nazis, but I'm also horrified that republicans have embraced the Nazi's posturing and talking points:


Watching Paul Sorvino-as-mob-boss reject Nazism:


and mow down Nazis is fun:



DrRexMorman t1_jcr52rr wrote

> So who owns the the actual playwright?

Do you mean copyright?

>Does an OG producer sell these rights to another?

Generally the corporation that pays for a movie or tv show is considered to be its author or owner.

1st example:

Jim Gavin wrote the pilot for a show he called Lodge 49.

Paul Giamatti and Dan Carey read it and loved it.

They got the script to Susie Fitzgerald at AMC.

Susie Fitzgerald convinced her bosses to film it as a 10 episode series.

Even though Jim Gavin created the show and oversaw its writing, AMC became the author/owner of the series when it agreed to underwrite its cost. However, Gavin has used elements of the show to brand and promote his publishing house. He's negotiating with AMC for permission to publish a series of novels based on elements of the show.

2nd example:

Louis CK wrote a 10 episode series.

He hired actors/etc and filmed it.

He released it to his people who were subscribed to his website.

After a period of time, he sold it to Hulu.

Hulu became the author/owner of the series.

>Or does the studio basically have all ownership?

In both cases these creators signed contracts with the studios who produced/bought their shows. These contracts refer to "rights." Creators' rights to the work they create follows the terms of a contract.

3rd example:

Ben Edlund created a comic book character called the Tick in the mid 1980s.

He signed a contract with New England Comics - who've published several hundred comic book titles based on Edlund's ideas over the last ~35 years.

In the early 1990s, Edlund signed a contract with Fox to produce an animated adaptation of the Tick. It ran for 3 seasons. Fox promoted the show with fast food items, t-shirts, toys, a video game, a board game, and other sundries. This was all negotiated in Edlund's contract with Fox.

In the early 2000s, Edlund signed a contract with Fox to produce a live action adaptation of the Tick. It ran for 10 episodes. Edlund's contact for the animated show prevented him from using several of its most prominent characters so he invented new ones.

In the mid 2010s, Edlund signed a contract with Amazon to produce another live action adaptation of the Tick. It ran for 20 episodes and featured a new slate of supporting characters.

In each case, Edlund retained control over certain elements while the corporation underwriting production controlled others.

The catch is that all of this is negotiated by executives working for the corporation and agents/lawyers working for the creative team. The bigger or more expensive the project, the more complicated this negotiation becomes.

4th, final example:

Steven Conrad created a tv show called Patriot for Amazon. When Amazon cancelled it, he got one of its stars to record an audiobook version of the book that actor's character had written as part of the show. Conrad did this without any permission from Amazon.

I don't know if that helps clarify. I can say that one indelible part of Hollywood culture is that people rarely share details of these negotiations. I guess it is considered gauche.