3 hours ago
(This post was last modified: 3 hours ago by C C.)
TRIGGERNOMETRY (with guest Critical Drinker)
https://youtu.be/STKCMFQ7R8U
---VIDEO EXCERPTS---
Francis Foster: So, I've got a theory as to why Hollywood isn't as good as it used to be [i.e., boring]. It's the death of the shagger. [...] You kind of look at the Mickey Rourkes of the time, you know, the good-looking bad boy who everybody kind of talked about, and he was problematic in many ways. You put a camera on him, boom, you've got dynamite. And it's also not just off-screen but the characters on-screen. like the John McClanes. You knew this guy was trouble. You knew there was darkness there. But also he was magnetic. You don't get the Jack Nicholsons. You don't get that anymore, do you?
Critical Drinker: Well, there's a high degree of pussification in Hollywood now, so that's probably the reason for it. Like the actors and the characters that they play are not allowed to be dangerous like that anymore. Right? So, this filters into all aspects of the industry because if they are dangerous, if they're too domineering, or they're too much of a loose cannon, they're seen as problematic, and that's scary for people.
[...] FF: How can you make great art if you're terrified? Great art is about risk. It's about taking that chance. It's about going, I don't know if this is going to work, but let's try anyway.
CD: Well, it's also having the ability to tell the truth. That's what art is really, isn't it? Ultimately, it's expressing truth and allowing people to make their judgments on it. But, if you're not allowed to express whatever truth you have in mind and it's just got to be the pre-approved version, well, then you're just going to get the same crap over and over again, the same exact viewpoints, and the same exact worldview.
And you see it in today's Hollywood movies. Like the only one I think that's different from that is maybe the Taylor Sheridans of the world that we talked about before. Where he sort of leans slightly the other way and he's not afraid to say that now because he's successful enough that he can get away with it.
But generally speaking, I think the climate is one of fear because all it takes is for an actor to say the wrong thing in an interview, to express the wrong opinion about one particular issue, some hot topic. And that could be it. That could be their career down the tubes.
Taylor Sheridan, to me, is a very interesting example because I think the woke era also produced this inverted idea that the way to make a great movie is to not be woke. And then it sort of dragged in a lot of people who were leading with that. Whereas Taylor Sheridan is clearly very good, it's not because he's non-woke.
[...] I didn't want a woke movie because it's annoying [preachy, substitutes that for quality or good storytelling]. But I also didn't want an anti-woke movie or something that's expressly political.
Yeah. I see this on my videos occasionally, where I might be criticizing some movie or whatever that is not woke by any normal measure. And so sometimes people will say like, well, it's not woke. I mean, what do you want? And I'm like, well, I want a good movie as well. Like, there are plenty of reasons why a movie can suck.
It doesn't have to be just because it like pushes identity politics. It could be badly written, badly directed, or whatever it might be. So I think we have to be very careful that we don't lump everything into that one basket. Like, well, it doesn't push any obvious politics. Therefore, it must be good. No, we still want to champion good art...
The real reason Hollywood movies became boring ... https://youtu.be/STKCMFQ7R8U
https://www.youtube-nocookie.com/embed/STKCMFQ7R8U
https://youtu.be/STKCMFQ7R8U
---VIDEO EXCERPTS---
Francis Foster: So, I've got a theory as to why Hollywood isn't as good as it used to be [i.e., boring]. It's the death of the shagger. [...] You kind of look at the Mickey Rourkes of the time, you know, the good-looking bad boy who everybody kind of talked about, and he was problematic in many ways. You put a camera on him, boom, you've got dynamite. And it's also not just off-screen but the characters on-screen. like the John McClanes. You knew this guy was trouble. You knew there was darkness there. But also he was magnetic. You don't get the Jack Nicholsons. You don't get that anymore, do you?
Critical Drinker: Well, there's a high degree of pussification in Hollywood now, so that's probably the reason for it. Like the actors and the characters that they play are not allowed to be dangerous like that anymore. Right? So, this filters into all aspects of the industry because if they are dangerous, if they're too domineering, or they're too much of a loose cannon, they're seen as problematic, and that's scary for people.
[...] FF: How can you make great art if you're terrified? Great art is about risk. It's about taking that chance. It's about going, I don't know if this is going to work, but let's try anyway.
CD: Well, it's also having the ability to tell the truth. That's what art is really, isn't it? Ultimately, it's expressing truth and allowing people to make their judgments on it. But, if you're not allowed to express whatever truth you have in mind and it's just got to be the pre-approved version, well, then you're just going to get the same crap over and over again, the same exact viewpoints, and the same exact worldview.
And you see it in today's Hollywood movies. Like the only one I think that's different from that is maybe the Taylor Sheridans of the world that we talked about before. Where he sort of leans slightly the other way and he's not afraid to say that now because he's successful enough that he can get away with it.
But generally speaking, I think the climate is one of fear because all it takes is for an actor to say the wrong thing in an interview, to express the wrong opinion about one particular issue, some hot topic. And that could be it. That could be their career down the tubes.
Taylor Sheridan, to me, is a very interesting example because I think the woke era also produced this inverted idea that the way to make a great movie is to not be woke. And then it sort of dragged in a lot of people who were leading with that. Whereas Taylor Sheridan is clearly very good, it's not because he's non-woke.
[...] I didn't want a woke movie because it's annoying [preachy, substitutes that for quality or good storytelling]. But I also didn't want an anti-woke movie or something that's expressly political.
Yeah. I see this on my videos occasionally, where I might be criticizing some movie or whatever that is not woke by any normal measure. And so sometimes people will say like, well, it's not woke. I mean, what do you want? And I'm like, well, I want a good movie as well. Like, there are plenty of reasons why a movie can suck.
It doesn't have to be just because it like pushes identity politics. It could be badly written, badly directed, or whatever it might be. So I think we have to be very careful that we don't lump everything into that one basket. Like, well, it doesn't push any obvious politics. Therefore, it must be good. No, we still want to champion good art...
The real reason Hollywood movies became boring ... https://youtu.be/STKCMFQ7R8U