Sooooo, are Nolan and Villeneuve the only two directors left in Hollywood? Because I’m getting that impression with the quality of output in the last several years.

When the fuck has economic disincentive ever been a priority for civil courts? Large corporations do billions of dollars of damage on a regular basis, and get fined for millions.

Trump just got re-elected. Russia won’t face shit.

*cough* Dr. Who *cough*

I mean, that all depends on what the MPL allows.

The engineers that work there certainly aren’t going to stage a coup.

What engineers? Musk fired all of them when he first started.

Funny, I was initially thinking of a Rick and Morty reference before I saw the pic.

Yeah, makes sense to North Korea, too. I’m not sure they’re an example to follow, though.

To be clear, nation states controlling the tools that their employees and, potentially, wider population communicate and access information is a dystopian vision, and I cannot agree with that point at all.

Wow, what a way to take the most extreme POV possible on an issue.

The last great TV series I watched was Mr Robot, and that started in 2015, by a cable studio.

Now, I’ve seen plenty of good potential streaming series that have a first season, like Arcane and Severance. But, the odds of them having some sort of beginning, middle, and ending are damn near zero. How can you have any sort of series when they want to spend something like five years between seasons?

Hell, even The Expanse, which started out as a cable series, got picked up by Amazon, and they decided to just shitcan the series because they wanted to spend a billion dollars on their LotR boondoggle. They had a pretty good run, but it deserved better.

It doesn’t matter. Your audio receiver will know which one is it and decode it.

A good director will know how to use music to its full advantage to elevate a scene. How could you watch the Interstellar docking scene without Hans’ No Time for Caution? Or major chunks of Dune without the soundtrack?

But, audio ducking the music to make sure the narration is understandable is just as important. Lay on the music when there isn’t dialogue, and bring it down when it’s time to listen to the narration.

Then you watch all the “greatest” TV shows: Sopranos, Breaking Bad, Deadwood, Freaks and Geeks, Gilmore Girls, Star Trek, Madmen which are filled with these huge, scenery-chewing performances.

What do all of those shows have in common? They were all made at least ten years ago by cable studios that actually knew what the fuck they were doing. Today’s Hollywood is mostly a dumpster fire of bad writers, bad directors, bad writers, actors that have their hands tied by the rest of the crew, terrible terrible writers, and producers who are so far removed from reality that they don’t even understand what makes a film great.

As somebody who recently set up a Denon 5.1 system, that’s not been my experience. I mean, there’s certainly a lot of tweaking, wires, and configuration to do, but it’s not because of the audio standards. Dolby just fucking works, and everybody uses it.

The main problem is trying to figure out how best to upmix stereo inputs to get it to sound decent, and make sure you can get a decent mix of narration and music. I’ve found it’s best to just trust the microphone-based auto-configuration for speaker levels, and use the other options like multi-channel stereo and the dialog enhancer settings to make it work better.

That’s not what this article is talking about. This is about sound mixing, not the script.

Always has been 👨‍🚀🔫

The problem I have with it is that the thing she is communicating is not “I’m a wicked witch”, but more “is this photoshoot over yet?” or “what shall have I for dinner?”.

Or “I told this prick that it’s in my contract to show my full face in the poster”.

This guy has the most unhinged thumbnails.

Too bad FTC rules are useless, thanks to SCOTUS striking down the Chervon ruling.

What’s a good web search engine nowadays?

3 * 2 = 6

3 + 2 - 1 = 4

So, close enough? How “close to 1” are you talking about?