FisterRoboto

Yeah....unless that was someone that posts here regularly, they don't know shit. I didn't see any "friction" between us. I saw everyone expressing their opinions. My opinions were different from others, and others had different opinions from us. The only real friction I saw was that a few people kept saying how anyone could afford it, and a few people (both here and in the thread from Erik Diehn) said that's not the case and that it's really presumptive to assume others have the same privileges that you do. There was also some rando that came in and called me rude because I was messing with Taylor Anne, but she told the rando that it was cool. If someone here had a real problem and thought we were being assholes, I have no doubt they would have said something. I looked around a bit and didn't see that mentioned in the few reddit threads I ventured into, but I'd bet anything that wasn't a regular poster here on the forums and that it's kind of like how when people don't like a guest, they come here and say things like, "NO ONE WAS EVEN LAUGHING AT THEIR JOKES! You could tell the audience hated her" (because it's almost always a "her" they come to complain about, but that's a whole different story). They're likely distorting the tone of the conversation because it better suits their point. Another good example is a comment like this where someone suggests that Earwolf "rolled back" their announcement last year due to backlash (when, in actuality, they just said the archives would go behind the paywall "at some point in the future"). TL;DR - People are full of shit and will do whatever mental gymnastics they can to distort things to make them feel like everyone else agrees with them.

Fun fact: Russell was cast in Escape From New York because he was actively trying to distance himself from his role as a Disney child star. While I appreciate the fact that they MIGHT have been going for a reference to Russell's former Disney child star status (although I frankly think that's giving them too much credit), it still doesn't make sense within the context of the movie. Anaheim isn't just up the street from LA. According to Google Maps, it's 26 miles away. For a point of reference, that would be like Escape From New York suddenly cutting to Newark, NJ for no apparent reason. I think it's more likely that they didn't really care about the geography and were just trying to shoehorn in more LA metro area landmarks. This is a really good point by JammerLea. I had the same thought but didn't really flesh it out well enough to make a post out of it. The whole thing about them being back in the Stone Age without electricty really threw me for a loop. Like, people still know how to make shit; they will just need to rebuild. What about C&C Music Factory, though? They were "gonna make you sweat 'til you bleed"

In Build-A-Title, you can't use upcoming movies. Are we allowing upcoming episodes? GET OUT, CAMERON He would likely let it slide if it was CatwomAnaconda. At least the sounds are the same.

He's like that dude that always has to have something silly to say regardless of the occasion. Example: he tweeted this stupid shit right as the Trump Press Shitshow was starting this morning... Then he (or whoever runs his shitty twitter account) blocked people who were like, "Maybe you should ask Trump next time you're rubbing his hair" ETA: he blocked me, but my response was "Acknowledging your shitty tweets while the future of our planet goes down the toilet #ResolutionFail"

Sorry, you lost me at Jimmy Fallon.

Seriously. Who doesn't remember the Tim Allen classic Jungle2Jungle?!

If it's easier, you can go to "Films" and browse by year, genre, etc. And it will bring you up a big-ass wall of movies, and you can click the little eye that appears when you hover over it to say you've seen it, if you want to do it that way.

I started mine as a way to track movies I watched for the DLM Challenge. I usually only add stuff as I watch it (to try to go through and log every movie I've seen in the past would be a ridiculously laborious task), but if I've seen it before - even if I don't always remember all of it - I'll usually mark it as having seen it previously.

God, I hate those awful suits that don't contribute any content or provide anything of value.

You are still stealing content that you don't think you should pay for, regardless of the way you look at it. That's really all it comes down to. You chose to overlook the part where he specifically says they are looking for a mutually beneficial solution. Are they unhappy with the paywall? Yes, but that's not the entire message. But whatever makes you feel like a hero for stickin' it to the suits (which has repeatedly shown your ignorance regarding how businesses actually run).

And you don't get to ignore the other parts they say just because it doesn't fit your viewpoint. They don't like the paywall, but he specifically says they are working for a way to make this work for BOTH parties. You've chosen to ignore the parts that don't fit your argument. They don't love the paywall idea, fine. But that is not their sole message. Yet it seems to be only part you are interested in. They are working with Earwolf/Midroll to find a mutually beneficial solution. If that solution ends up being HDTGM coming out from behind the paywall, then that's cool. If it ends up being a different solution, then we'll see what the solution is, but I will still be okay with paying to support something that gives me hours of entertainment. Same goes for Professor Blastoff. You are still not entitled to steal content because you don't want to pay, regardless of what the content creators' intentions were. The content creators are not the only side of the equation, and stealing content in their name is a total red herring argument which has been what this whole conversation is about (and the argument you keep coming back to repeatedly when I point out the problems in your other arguments like the Netflix business model or ad revenue in old episodes).

Just a friendly reminder that comparing the content delivery systems does not make the economic models the same. This might be really hard for you to believe, but it's possible for things to be similar without being identical. This is shocking news, I am sure. It's almost like this is a for-profit corporation. If you don't like it, don't pay for it. But you are still not justified in stealing the content if you don't like paying for it. I don't know much about Professor Blastoff, but Paul's message was more along the lines of, "We're trying to work for a solution that is mutually beneficial" and not the way that you are portraying it at all.

Because you have access to their budget, I'm sure, and you know how much the hosts make, how much the engineers make, and how much all the other Earwolf employees that perform various behind-the-scenes tasks make. Additionally, I promise you that Netflix has an exponentially higher base of subscribers, which gives them the capital to make their original series. Additionally, it took them 14 years to make one of these series (well after they were dominating the market financially and had plenty of revenue to expend on such a venture). There are plenty of other differentiators on why the Netflix model is different, but you seem to be content to do whatever mental gymnastics possible to justify your position that it's okay to steal content if you don't like paying for it, so I'll spare you the lesson, which will almost certainly fall on deaf ears.

Well....it's like Escape if Snake Plisskin was a thoroughly unlikable, misogynistic dildo. I usually like Guy Pearce, but god did I hate that movie.

I didn't. I.....kind of don't like The Who. But I'm still down to watch this trash can fire incredible masterpiece.

In the same vein, why the fuck doesn't he just reload? Or pull either of his other guns out to shoot them? Like, he just goes, "Okay! Into this hole now!" If he had been on a platform carrying him downward or something so that he just didn't have time to do anything else, it would have made sense. But he literally just gives up when nothing happens to them. Speaking of slow-moving things, during the basketball scene, did it bother anyone else that there were SO MANY slow-mo shots of Snake with the ball, but everyone was counting in normal time? Like, if the scene was slowed down, shouldn't the counting be slowed down as well? While I'm on the subject of the basketball scene, Snake picks up the ball with about 5-6 seconds left before his last shot. He picks up the basketball and then looks over to Cuervo Jones long enough for Utopia to stand up and THEN for the crowd to count down a full 2 more seconds to 3. He doesn't stop staring at Cuervo until 1, when he throws the basketball across the court. If you're about to get murdered, why the fuck wouldn't you be running to the other side of the court instead of staring at Cuervo Jones' face for a full five seconds. One other thing that drives me crazy is that Cuervo Jones is like, "He's getting tired now" after the third basket. Really?! He's literally been running for 30 seconds. I know he's a smoker and all, but what kind of stone-cold badass is he supposed to be if he can't run for LESS THAN A MINUTE without tiring himself out. Bonus: Isaac Hayes (The Duke of NY in the first movie) is the guard that refuses to open the gate for him as he's leaving. Not to mention that these gliders never actually lose altitude once they start shooting at Cuervo's crew. Also, that seems extremely fucking impractical. It might work for the element of surprise when you can swoop over them once and open fire on the crowd, but I feel like after one pass, it would be almost useless. You're on a set trajectory, so it would be really easy to be shot down, and you have almost no maneuverability or cover to protect yourself.

Braaaaaaaag

I don't know, but I wish the fire would have burned that shit off his chin. (Also, Wakaliwood is the best thing ever)

Okay. If you love it for the camp factor, that's one thing, but I'm totally not buying the "it's a brilliant meta commentary on the first film" argument. Carpenter is one of my favorite directors, and he's an expert at mixing camp with more serious themes to make excellence (most notably in They Live, but almost all of his films have a level of camp to them that makes them work for me). He just turned the camp up here, and it doesn't work for me as well as it does in, say, Big Trouble in Little China. Maybe it's because they took an established character and made him into something ridiculous. Maybe it's because Big Trouble in Little China recognizes its own silliness from the very first scene. Or maybe it's because Escape from New York is one of my all-time favorite movies that seeing a pale imitation rubs me the wrong way. Carpenter has said on several occasions that he feels LA is the more mature film, and I can't believe he and I are watching the same movie every time I hear or read that. I don't dislike this movie, and I think it's fun as a kind of silly camp movie. But it's definitely NOT a meta-comedy film. Also, someone way back at the beginning of the thread said the didn't think the effects were that bad, and I have to wonder if they were watching it on their phone or an old box tv or something. That helicopter was totally on par with this: https://www.youtube.com/watch?v=Niiu8Urodf4

HOLY FUCK, YOU GUYS! I'm so mad I missed watching this and getting in on the earlier discussion because I have so much to say, so I'm just going to dump my brains here. First off, I totally see where Taylor Anne is is come from. Divine was a HUGE fucking deal as Edna in the Waters version (just as she was in everything she was in with Waters). I really went in expecting to have a problem with Travolta because I thought it was mostly going to be done from a "har har dude in a dress" perspective. But as others pointed out, it's easy to lose yourself into the character and see her as a fully actualized character. I will say that I didn't like so many of her punchlines being about ham and other similar lines. I'm assuming those are from the stage musical and not just something shitty they came up with for the movie. But it feels really mean. However, I will say that sensitivity and awareness around body shaming wasn't the thing in 2007 that it is today. That's not to excuse it by any means, but it's to say, "I get it. We were shittier then than we are now (at least I hope...)" My other big kind of icky feeling with it is that it really feels white savior-y. Tracy and Link are kind of the heroes here, and I really would like to see a version of this told from Queen Latifah's side. She can be a straight up bad bitch, and I want to see the movie where she just busts in and is like, "We're gonna dance; y'all can join us or get the fuck out." Even Penny's change of heart that ends up with her appearing on the show is portrayed more heroically than Inez' and Seaweed's respective victories. It all rubs me a bit the wrong way (and I'll admit that it's probably there in the Waters version to, but I've just seen it so many times that I'm blind to it anymore). ALL THAT SAID, there are sooooooooo many things I loved about it. The songs are wonderful and catchy. "Good Morning Baltimore" and "You Can't Stop the Beat" are easily my favorites, but "Run and Tell That," "Big, Blonde and Beautiful," and "(You're) Timeless to Me" are all just fucking delightful, too. Seaweed. Holy shit. He has an AMAZING voice, and I could listen to him sing just about anything. I mean, all the singing is great in this, but Elijah Kelley really stood out to me. James Marsden. I can't help but love that guy. I think he's charming as fuck, and even when he's in a bad movie, he's wonderful. The cameos were delightful. I normally am pretty eye-roll-y for major fan service shit like this (minor Rogue One spoiler: ), but I loved Waters showing up as the flasher in "Good Morning Baltimore" and Ricki Lake being one of the talent agents for William Morris. And finally, I can't believe NONE OF YOU MOTHERFUCKERS EVEN MENTIONED ALLISON JANNEY! She is such a goddamn treasure. I love her in everything she's in, and she's so funny in this. For my money, the best line in the movie is when she tells Amanda Bynes, "If I let you out of the house right now, you'd be in prison fighting whores for cigarettes." Now if you'll excuse me, I'm just going to go watch this and think about how much I love her:

Now that the paywall debate is over, can we talk about what a kiss-ass taylor anne is?

Because that's not how advertising works. They probably pay under a CPM model, which means that they pay $X for up to Y impressions (people reached by the ad's message). This is how most advertising is managed. This is the main reason that podcast audience is so important. The higher the number of listeners, the higher the impressions. You also generally run ads for specified amounts of time. Notice how you don't see McDonald's commercials from 1960 anymore? That's because McDonald's said, "We're going to run this ad at a cost of $X CPM from this date to this other date." They MIGHT pay an additional fee for staying in the episode in perpetuity, but probably not. Think of how many promos are advertised that are no longer relevant in those ads or how many advertisers no longer advertise on Earwolf; their ads didn't just go away from old eps when they ended their partnership. The fact is, even if they are paying for their ads to be in old episodes, I would guarantee that ad revenue largely comes from new episodes because they are listened to exponentially more than episodes that have been sitting around for several years. So, even if they lose the money they were theoretically charging for old ads, they would be gaining considerably more under the new plan. You keep repeating this as if it's fact. Do you have record of this "expressed purpose?" I've never heard it before, so I'd be curious to read or hear where you got that information.

They announced that Howl was going to put archives behind a pay wall at some point in the future on Comedy Bang Bang in August 2015. All the Howl ads have mentioned it for over a year. I'm not sure how much more notice they could have given. Most likely because it's not a fun kind of awful. It's just an awful kind of awful.

Whataburger is my jam. They start selling taquitos at 11 PM, but I usually go for a bacon cheeseburger after I've been drinking. Also, I live in Austin, which is where everyone from LA goes to ruin the one good part of Texas. Within the past couple years, they've opened a few In'N'Outs, and it's great hearing all the California people talk about how they are the best burgers ever fucking created. Bitch, please. Gimme that Whataburger + fries that don't taste like cardboard + spicy ketchup any goddamn day.