I'm sad that Lin Manuel Miranda didn't become the youngest person ever to gain the EGOT, but it was too much to hope that his song would edge in over La La Land's duo. I'm also miffed that the boring as hell "City of Stars" won over the far better "Fools Who Dream" but again I'm not shocked.
I liked the regular "City of Stars" before it was drummed into our heads by the trailer. By the third or fourth time I was done with it. However, I love the version they do in the film as a duet, and I especially love Emma Stone starting to laugh twice while singing it, since they're such wonderfully warm, natural, imperfect moments.
I think that's my problem. I went to see La La Land and I really enjoyed it. I thought it was fun and clever and a fresh take on a very old fashioned movie format that managed to do something completely new. The thing is, I was looking forward to it because I love musicals, both on film and in theater, and of all the songs in the movie, Fools Who Dream was the only one that stuck with me.
The rest? Nothing. I remember singing and dancing but nothing else. I'm aware of the melody of City of Stars, but aside from those three words I can't tell you any of the lyrics. I can remember the big opening number where everyone's stuck in traffic, but I have no idea what the song was actually about. Somewhere in the Crowd registered a bit more with me, but I still couldn't tell you what any of the lyrics were. Aside from Fools Who Dream, none of the songs were memorable, and they're still not even though I've listened to them all more than once.
That's really unusual for me. I can't think of another musical I've seen where I just wasn't interested in hearing the songs again, never mind coming out not humming a single one of them. The imagery in Fools Who Dream was about the only thing that stuck with me. Heck, the only song lyrics I remembered coming out of La La Land (aside from those that featured the title of the song) were "The water was freezing / she spent a month sneezing / she said she'd do it again."
It might just be I've been spoiled by the likes of Wicked, Les Miserables and years of catchy Disney movies, but I was surprised at what a let down for me the actual musical element of La La Land was.
I also think the way in which La La Land seeks to evoke old Hollywood is particularly soulless and inelegant. I think the decision to make it a modern setting while still evoking that period was the correct choice, but for me it never really gets past anything other than "hey remember old hollywood, pretty great huh??"
The closest it gets is the end fantasy sequence, where they start making movie references one after another, but it's again still just referential in nature.
La La Land feels like someone at a party who starts the conversation with "they don't make them like they used to," but then can't really articulate what they mean by that.
I still liked the movie, but I didn't agree with the critical acclaim it started rolling with at all. And I especially rolled my eyes out of my head when the director started talking about how it was so hard to make the movie and how no one believed in him. Like, are you serious, dude? No one believed in a movie about actors and LA and how hard it is to be living a creative life but how fulfilling it is and how wonderful you all are? Give me a fucking break.
It was actually, if you read up on the production of the movie. No one wanted to finance a modern jazz musical with all original music and the studio wanted some really extensive re-writes when they even thought about making it. The thing only got made because Whiplash won so many Oscars.
+4
FencingsaxIt is difficult to get a man to understand, when his salary depends upon his not understandingGNU Terry PratchettRegistered Userregular
Movie executives do not count as "nobody believed in this movie", because it's pretty clear they don't know how movies work, even in the most general sense.
Movie executives do not count as "nobody believed in this movie", because it's pretty clear they don't know how movies work, even in the most general sense.
They're the only people who do count, because they're the ones that determine if movies get made.
I think that's my problem. I went to see La La Land and I really enjoyed it. I thought it was fun and clever and a fresh take on a very old fashioned movie format that managed to do something completely new. The thing is, I was looking forward to it because I love musicals, both on film and in theater, and of all the songs in the movie, Fools Who Dream was the only one that stuck with me.
The rest? Nothing. I remember singing and dancing but nothing else. I'm aware of the melody of City of Stars, but aside from those three words I can't tell you any of the lyrics. I can remember the big opening number where everyone's stuck in traffic, but I have no idea what the song was actually about. Somewhere in the Crowd registered a bit more with me, but I still couldn't tell you what any of the lyrics were. Aside from Fools Who Dream, none of the songs were memorable, and they're still not even though I've listened to them all more than once.
That's really unusual for me. I can't think of another musical I've seen where I just wasn't interested in hearing the songs again, never mind coming out not humming a single one of them. The imagery in Fools Who Dream was about the only thing that stuck with me. Heck, the only song lyrics I remembered coming out of La La Land (aside from those that featured the title of the song) were "The water was freezing / she spent a month sneezing / she said she'd do it again."
It might just be I've been spoiled by the likes of Wicked, Les Miserables and years of catchy Disney movies, but I was surprised at what a let down for me the actual musical element of La La Land was.
I also like "Fools Who Dream" best, but especially "Another Day of Sun" has grown on me a lot, so much so that I've been oddly obsessed by the song for the last two weeks. Similarly, I've come to really love the "City of Stars" duet. When I'd just left the cinema, though, I couldn't remember a single tune. I can imagine the one or the other happening, but the combination of the two strikes me as odd.
Yeah, I think it struck me hard at the time because I'm a literature grad and I tend to zero in on imagery in dialogue, prose and verse. It's second nature to me by now, so I was confused that out of an entire musical only one song made any sort of impact on me.
So, I'm starting to read articles claiming that the controversy over the Best Picture thing overshadows "Moonlight"'s praise and voice in terms of LGBT representation. Like, it was "La La Land" saying "Fuck you" to the LGBT community in general, or something like that.
I... don't feel like this is actually happening? I feel like the Best Picture thing actually would bring more attention to Moonlight as opposed to the alternative, where they win the award without controversy. "Moonlight Wins Oscars" is not front page news (Entertainment page, at best), especially since it was one of the two frontrunners to win.
There's also a meme going around showing Mahershala Ali, Viola Davis, and Emma Stone standing together, and Casey Affleck standing apart from them in a picture, and I can't tell if this was a manufactured meme or something that actually happened or is way overblown.
I'm sad that Lin Manuel Miranda didn't become the youngest person ever to gain the EGOT, but it was too much to hope that his song would edge in over La La Land's duo. I'm also miffed that the boring as hell "City of Stars" won over the far better "Fools Who Dream" but again I'm not shocked.
I liked the regular "City of Stars" before it was drummed into our heads by the trailer. By the third or fourth time I was done with it. However, I love the version they do in the film as a duet, and I especially love Emma Stone starting to laugh twice while singing it, since they're such wonderfully warm, natural, imperfect moments.
I think that's my problem. I went to see La La Land and I really enjoyed it. I thought it was fun and clever and a fresh take on a very old fashioned movie format that managed to do something completely new. The thing is, I was looking forward to it because I love musicals, both on film and in theater, and of all the songs in the movie, Fools Who Dream was the only one that stuck with me.
The rest? Nothing. I remember singing and dancing but nothing else. I'm aware of the melody of City of Stars, but aside from those three words I can't tell you any of the lyrics. I can remember the big opening number where everyone's stuck in traffic, but I have no idea what the song was actually about. Somewhere in the Crowd registered a bit more with me, but I still couldn't tell you what any of the lyrics were. Aside from Fools Who Dream, none of the songs were memorable, and they're still not even though I've listened to them all more than once.
That's really unusual for me. I can't think of another musical I've seen where I just wasn't interested in hearing the songs again, never mind coming out not humming a single one of them. The imagery in Fools Who Dream was about the only thing that stuck with me. Heck, the only song lyrics I remembered coming out of La La Land (aside from those that featured the title of the song) were "The water was freezing / she spent a month sneezing / she said she'd do it again."
It might just be I've been spoiled by the likes of Wicked, Les Miserables and years of catchy Disney movies, but I was surprised at what a let down for me the actual musical element of La La Land was.
I also think the way in which La La Land seeks to evoke old Hollywood is particularly soulless and inelegant. I think the decision to make it a modern setting while still evoking that period was the correct choice, but for me it never really gets past anything other than "hey remember old hollywood, pretty great huh??"
The closest it gets is the end fantasy sequence, where they start making movie references one after another, but it's again still just referential in nature.
La La Land feels like someone at a party who starts the conversation with "they don't make them like they used to," but then can't really articulate what they mean by that.
I still liked the movie, but I didn't agree with the critical acclaim it started rolling with at all. And I especially rolled my eyes out of my head when the director started talking about how it was so hard to make the movie and how no one believed in him. Like, are you serious, dude? No one believed in a movie about actors and LA and how hard it is to be living a creative life but how fulfilling it is and how wonderful you all are? Give me a fucking break.
I'm not going to belabor the point, but while the main reason I detested La La land was that it was a rom com without the com and a musical with only the beginning and ending 15 minutes actually having (good (fuck city of dreams)) musical pieces, the other big reason it probably didn't grab me was because I don't actually have the frame of reference to catch most of those references (and think that referential not-comedy is the lowest form of not-humor anyway).
And if you want a big musical number that was all about giving Hollywood sloppy blowjobs, Hail Caesar was better at that too. And actually had a plot to go with it's wankery. Even if that didn't exactly land either (While La la land is probably my least favorite movie of the year, Hail Caesar was pretty far down there too. And yes, that might actually be below suicide squad).
And if you want a big musical number that was all about giving Hollywood sloppy blowjobs...
I don't actually agree that La La Land does that. I don't think it required me to agree with the main characters' dreams to empathise with them. If it had, I might've felt the same as you.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
+5
cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
A "rom com without the com," is just, you know, a romance. They do still make those.
I mean, sure. But the way it was set up was signalling something more along romcom lines, than a straight romance. They basically just meetcute, and run with it from there. Compare the romance to something like.... Arrival, where while the romance grows organically throughout the course of the film (and also is the B, maybe even C plot at best).
Really, I'm just grumpy because it made promises about the musicality in the first 15 minutes which it never really lived up to later in the film. If it wasn't such a bait and switch, I probably wouldn't have had as much of a problem. (Dissing "I ran" didn't help either :P)
And if you want a big musical number that was all about giving Hollywood sloppy blowjobs...
I don't actually agree that La La Land does that. I don't think it required me to agree with the main characters' dreams to empathise with them. If it had, I might've felt the same as you.
Ultimately the problem was that I found both of the leads to be such terrible people, that I couldn't help but roll my eyes at their bloviating. Which really makes it difficult to sympathize, much less empathize with them. Since most of their characterization seems to stem from a compulsion to cut off their own nose to spite their face. They were just so incredibly unlikeable (to me), that it taints everything else.
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
And then in the end
she's married, with a freaking daughter, and still entertaining thoughts about running away with him regardless? That was just, ugh. The fact that she didn't was one of the only things I cheered at in the movie. Well, that and the excellent camera work in the early songs.
A line I saw on another forum stuck out to me: La la land is kinda like white privilege, the movie
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
Wait what? We know she's in a relationship when she meets Gosling, then you never see or hear about the guy again. It's a safe assumption that they broke up.
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
Wait what? We know she's in a relationship when she meets Gosling, then you never see or hear about the guy again. It's a safe assumption that they broke up.
They had a big scene where instead of rescheduling the movie with gosling, she instead went to, and then walked out of a dinner with her actual boyfriend's family
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
Wait what? We know she's in a relationship when she meets Gosling, then you never see or hear about the guy again. It's a safe assumption that they broke up.
They had a big scene where instead of rescheduling the movie with gosling, she instead went to, and then walked out of a dinner with her actual boyfriend's family
That was her own family. It was her brother and his wife and her boyfriend. She's kinda forgotten he exists and it's clear she's not really that interested in him. She goes to dinner and just realises she doesn't give a shit about what any of these people are on about and leaves to go be with Sebastian, effectively ending her relationship with her current BF who she breaks up with afterwords off-screen.
Up to this point Mia and Sebastian aren't really dating or anything. Certainly they ain't fucking. They ain't even kissing. They are talking and flirting and feeling one another out.
Your interpretation of the end is also ... really strange. Like a funhouse mirror version of what happened, deliberately skewed so you can hate Mia more.
Ultimately the problem was that I found both of the leads to be such terrible people, that I couldn't help but roll my eyes at their bloviating. Which really makes it difficult to sympathize, much less empathize with them. Since most of their characterization seems to stem from a compulsion to cut off their own nose to spite their face. They were just so incredibly unlikeable (to me), that it taints everything else.
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
And then in the end
she's married, with a freaking daughter, and still entertaining thoughts about running away with him regardless? That was just, ugh. The fact that she didn't was one of the only things I cheered at in the movie. Well, that and the excellent camera work in the early songs.
A line I saw on another forum stuck out to me: La la land is kinda like white privilege, the movie
I thought that both were flawed, and human - though it could be argued Gosling's character was a jerk in the beginning.
I loathed him until he started acting responsibly when he got hired by John Legend. Then he actually grew up.
Maybe it's because
her fiancé wasn't a big factor in the movie then he was dumped offscreen that it didn't bother me much. But yeah, it was terrible for her to do that. But that hardly made her into a monster. She was my favorite character in the movie, actually.
That was only a dream sequence and regret since they did have a deep relationship which had ended years prior. They don't speak one word, made brief gestures of respect then she left never to return to his club again. Both characters had moved on, and accepted that the "dream" was dead.
Yeah, like you said, gosling's character actually grew up through the movie, and while I still think he he was a bit of an asshole, on the RENT scale, he was more of a Mark, than a Roger. And there's still that whole whitesplaining jazz to John Legend thing.
But seriously, while the fiancée thing was what made me start thinking that she was a pretty terrible person, it was actually her pattern of selfish behavior that was the final nail in the coffin. The sheer hypocrisy when she strong armed him into taking Legends gig, and then the whining about how it betrayed his values afterwards? And then how she wouldn't put aside hey own shit for a day to support his out of town show (iirc, that was when she was still writing, and hadn't actually gotten the venue yet?), but then after she got the part, she wanted him to drop everything and do what she never did? Even though they were actually not together at that point? (Actually that's another point in gosling's favor, even after that rough breakup, he actually about her enough to do a full day drive, back to back, to courier her there. I'm not convinced she'd do the same)
Basically, the scene with gosling's characters sister at the beginning set the whole tone for the rest of the film. They're basically dirty hipsters who should get a real job, but instead, because they're attractive,white 20(30?)-somethings, they just kept failing upwards. Because they just really believed in their dreams, you know. Which in summary, is why city of dreams is the song least deserving of an emmy :snap:
Yeah, like you said, gosling's character actually grew up through the movie, and while I still think he he was a bit of an asshole, on the RENT scale, he was more of a Mark, than a Roger. And there's still that whole whitesplaining jazz to John Legend thing.
But seriously, while the fiancée thing was what made me start thinking that she was a pretty terrible person, it was actually her pattern of selfish behavior that was the final nail in the coffin. The sheer hypocrisy when she strong armed him into taking Legends gig, and then the whining about how it betrayed his values afterwards? And then how she wouldn't put aside hey own shit for a day to support his out of town show (iirc, that was when she was still writing, and hadn't actually gotten the venue yet?), but then after she got the part, she wanted him to drop everything and do what she never did? Even though they were actually not together at that point? (Actually that's another point in gosling's favor, even after that rough breakup, he actually about her enough to do a full day drive, back to back, to courier her there. I'm not convinced she'd do the same)
Basically, the scene with gosling's characters sister at the beginning set the whole tone for the rest of the film. They're basically dirty hipsters who should get a real job, but instead, because they're attractive,white 20(30?)-somethings, they just kept failing upwards. Because they just really believed in their dreams, you know. Which in summary, is why city of dreams is the song least deserving of an emmy :snap:
Yeah, I sided with Legend on that.
You're right, she was a hypocrite. But I'm not sure that she really pressured him to get that job, though she would have wanted him too because being a starving artist isn't exactly going to be good for their relationship and it's being a responsible adult. It was his only path to get his dream made, until then all he was doing was getting fired from random gigs because he was too much of a rebel to maintain a steady paycheck. Ultimately he did end up enjoying that life, even if it did hurt his relationship with her. Mia was the only thing in his life at that point for a long time, as well - at least one he did join Legend's band he had friends, money and a social life.
The only reason he knew about what she thought about him was because his house had thin walls while she was on the phone with her mother. She never actually said this to his face to shame him into taking the job. She was perfectly ok if he didn't work for Legend.
Both of them did have issues with communicating, though.
She that stage he had bought into what his ideals were with jazz, and didn't like how he "sold out." Nor did she understand the implications of what the job was, and she didn't bring it up in their time. That said, they shouldn't have been severed with communication like the movie implied, sure it'd be harder but this isn't the 40's. And it's not like he didn't tell her where he was going while on tour.
I'm giving her leeway on her show since that was something she hadn't done before, she never had a lot of self esteem to begin with, that show made her emotionally vulnerable and only one person went to it. She shouldn't have lashed out at him for that, but she was in a terrible place so it's understandable why she was acting like she did. Like her, he didn't recognize what she was going through before it was too late and by the time he had a glimpse that something was amiss he was too busy to do anything about it due to his business commitments. Nor did he do a good job trying to sympathize with her at the dinner when she was falling apart. He had a habit of dismissing others feelings for "the greater good," and even when he's right how he tries to force her to do the right thing was dickish. Those scenes reminded me of his character in the Notebook, who was a jerk.
Her solution with him to come with her to France was the right thing to ask if they wanted to keep their relationship, that said he wasn't wrong to say no either. He had a steady job and was working toward a dream and he understood breaking up wasn't necessarily a bad thing. Both got what they wanted, but neither were the bad guy with this.
Gosling's definitely a dirty hipster, Mia - I'm not sure. She was too normal for that description. I don't think they failed upwards, the only reason they got their success was that they had the talent and did the necessarily legwork to get seen by people who would naturally be inclined to give them a leg up. Mia, in particular, earned her status as a star more than Gosling did. She never did this before, and only through her talent did anyone give her the time of day. That's how good she was. Gosling was a prodigy who could have been famous and knew everything he needed to get ahead in his field (or at least was open to learning when the opportunities arose like a fish to water), what stopped him was his self destructive tendencies. Once they were gone he had the Golden Ticket. He didn't even have search for Legend either, they both knew and respected each other and Legend knew enough about his talent to book him asap.
This has been a productive conversation. Your comments have helped me have a bit of an epiphany. Part of the reason why people are said to have loved it was because it was the escapism they needed right now. But for me, that illusion never landed. Instead it just cast a harsh light on my own bitterness that hope never wins, and that the bright lights of the big city are just shadow puppets on plato's wall.
I'm summary, Rogue One is a simulalcrum for our age: (real rogue one spoilers)
the Empire has more men, and no matter what heroics happen in the interim, everyone dies in the end.
This has been a productive conversation. Your comments have helped me have a bit of an epiphany. Part of the reason why people are said to have loved it was because it was the escapism they needed right now. But for me, that illusion never landed. Instead it just cast a harsh light on my own bitterness that hope never wins, and that the bright lights of the big city are just shadow puppets on plato's wall.
I'm summary, Rogue One is a simulalcrum for our age: (real rogue one spoilers)
the Empire has more men, and no matter what heroics happen in the interim, everyone dies in the end.
Rogue One wasn't the end, it was the middle. In the end the good guys win.
And then their damn Millenial kids ruin everything! Or something like that.
This has been a productive conversation. Your comments have helped me have a bit of an epiphany. Part of the reason why people are said to have loved it was because it was the escapism they needed right now. But for me, that illusion never landed. Instead it just cast a harsh light on my own bitterness that hope never wins, and that the bright lights of the big city are just shadow puppets on plato's wall.
I'm summary, Rogue One is a simulalcrum for our age: (real rogue one spoilers)
the Empire has more men, and no matter what heroics happen in the interim, everyone dies in the end.
Dude, are you really going with "I realized the reason everybody loved the movie is they were dumb enough to fall for it and I wasn't?"
Exactly, whereas Margot Robbie is really a Gigeresque nightmare of teeth and misplaced biomechanical penises, yet you wouldn't know from looking at that still. That's what I call Oscar-winning makeup.
Thirith on
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
A little more detail is coming through on the card mix up and how it may have happened. The cards were being looked after and handed out by a very senior person at PWC, who was also live tweeting his experience during the event.
Right at the time he should have been handing the Best Picture card over, he tweeted a photo of Emma Stone backstage.
He deleted it after the card mix-up.
+10
HakkekageSpace Whore Academysumma cum laudeRegistered Userregular
A little more detail is coming through on the card mix up and how it may have happened. The cards were being looked after and handed out by a very senior person at PWC, who was also live tweeting his experience during the event.
Right at the time he should have been handing the Best Picture card over, he tweeted a photo of Emma Stone backstage.
A little more detail is coming through on the card mix up and how it may have happened. The cards were being looked after and handed out by a very senior person at PWC, who was also live tweeting his experience during the event.
Right at the time he should have been handing the Best Picture card over, he tweeted a photo of Emma Stone backstage.
Posts
It was actually, if you read up on the production of the movie. No one wanted to finance a modern jazz musical with all original music and the studio wanted some really extensive re-writes when they even thought about making it. The thing only got made because Whiplash won so many Oscars.
They're the only people who do count, because they're the ones that determine if movies get made.
Yeah, I think it struck me hard at the time because I'm a literature grad and I tend to zero in on imagery in dialogue, prose and verse. It's second nature to me by now, so I was confused that out of an entire musical only one song made any sort of impact on me.
I... don't feel like this is actually happening? I feel like the Best Picture thing actually would bring more attention to Moonlight as opposed to the alternative, where they win the award without controversy. "Moonlight Wins Oscars" is not front page news (Entertainment page, at best), especially since it was one of the two frontrunners to win.
There's also a meme going around showing Mahershala Ali, Viola Davis, and Emma Stone standing together, and Casey Affleck standing apart from them in a picture, and I can't tell if this was a manufactured meme or something that actually happened or is way overblown.
That photo is surreal.
If someone told me that was photoshopped in I would not have questioned it.
Photoshop his face into other pictures.
I'm not going to belabor the point, but while the main reason I detested La La land was that it was a rom com without the com and a musical with only the beginning and ending 15 minutes actually having (good (fuck city of dreams)) musical pieces, the other big reason it probably didn't grab me was because I don't actually have the frame of reference to catch most of those references (and think that referential not-comedy is the lowest form of not-humor anyway).
And if you want a big musical number that was all about giving Hollywood sloppy blowjobs, Hail Caesar was better at that too. And actually had a plot to go with it's wankery. Even if that didn't exactly land either (While La la land is probably my least favorite movie of the year, Hail Caesar was pretty far down there too. And yes, that might actually be below suicide squad).
Holy crap that's a lot of awards!
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
yup, the elusive BEGOTS
Let's play Mario Kart or something...
I mean, sure. But the way it was set up was signalling something more along romcom lines, than a straight romance. They basically just meetcute, and run with it from there. Compare the romance to something like.... Arrival, where while the romance grows organically throughout the course of the film (and also is the B, maybe even C plot at best).
Really, I'm just grumpy because it made promises about the musicality in the first 15 minutes which it never really lived up to later in the film. If it wasn't such a bait and switch, I probably wouldn't have had as much of a problem. (Dissing "I ran" didn't help either :P)
But yeah,
Ultimately the problem was that I found both of the leads to be such terrible people, that I couldn't help but roll my eyes at their bloviating. Which really makes it difficult to sympathize, much less empathize with them. Since most of their characterization seems to stem from a compulsion to cut off their own nose to spite their face. They were just so incredibly unlikeable (to me), that it taints everything else.
I mean, for chrissake, one of the first things we learn about the woman is that she was in an established relationship the whole damn time she was flirting with Ryan Gosling. Hell, I think it even implied they were sleeping together before they broke it off? That didn't exactly inure me to the strength of her moral character.
And then in the end
A line I saw on another forum stuck out to me: La la land is kinda like white privilege, the movie
Wait what? We know she's in a relationship when she meets Gosling, then you never see or hear about the guy again. It's a safe assumption that they broke up.
Steam: adamjnet
They had a big scene where instead of rescheduling the movie with gosling, she instead went to, and then walked out of a dinner with her actual boyfriend's family
That was her own family. It was her brother and his wife and her boyfriend. She's kinda forgotten he exists and it's clear she's not really that interested in him. She goes to dinner and just realises she doesn't give a shit about what any of these people are on about and leaves to go be with Sebastian, effectively ending her relationship with her current BF who she breaks up with afterwords off-screen.
Up to this point Mia and Sebastian aren't really dating or anything. Certainly they ain't fucking. They ain't even kissing. They are talking and flirting and feeling one another out.
Your interpretation of the end is also ... really strange. Like a funhouse mirror version of what happened, deliberately skewed so you can hate Mia more.
I thought that both were flawed, and human - though it could be argued Gosling's character was a jerk in the beginning.
Maybe it's because
That was only a dream sequence and regret since they did have a deep relationship which had ended years prior. They don't speak one word, made brief gestures of respect then she left never to return to his club again. Both characters had moved on, and accepted that the "dream" was dead.
Basically, the scene with gosling's characters sister at the beginning set the whole tone for the rest of the film. They're basically dirty hipsters who should get a real job, but instead, because they're attractive,white 20(30?)-somethings, they just kept failing upwards. Because they just really believed in their dreams, you know. Which in summary, is why city of dreams is the song least deserving of an emmy :snap:
Yeah, I sided with Legend on that.
The only reason he knew about what she thought about him was because his house had thin walls while she was on the phone with her mother. She never actually said this to his face to shame him into taking the job. She was perfectly ok if he didn't work for Legend.
Both of them did have issues with communicating, though.
She that stage he had bought into what his ideals were with jazz, and didn't like how he "sold out." Nor did she understand the implications of what the job was, and she didn't bring it up in their time. That said, they shouldn't have been severed with communication like the movie implied, sure it'd be harder but this isn't the 40's. And it's not like he didn't tell her where he was going while on tour.
I'm giving her leeway on her show since that was something she hadn't done before, she never had a lot of self esteem to begin with, that show made her emotionally vulnerable and only one person went to it. She shouldn't have lashed out at him for that, but she was in a terrible place so it's understandable why she was acting like she did. Like her, he didn't recognize what she was going through before it was too late and by the time he had a glimpse that something was amiss he was too busy to do anything about it due to his business commitments. Nor did he do a good job trying to sympathize with her at the dinner when she was falling apart. He had a habit of dismissing others feelings for "the greater good," and even when he's right how he tries to force her to do the right thing was dickish. Those scenes reminded me of his character in the Notebook, who was a jerk.
Her solution with him to come with her to France was the right thing to ask if they wanted to keep their relationship, that said he wasn't wrong to say no either. He had a steady job and was working toward a dream and he understood breaking up wasn't necessarily a bad thing. Both got what they wanted, but neither were the bad guy with this.
Gosling's definitely a dirty hipster, Mia - I'm not sure. She was too normal for that description. I don't think they failed upwards, the only reason they got their success was that they had the talent and did the necessarily legwork to get seen by people who would naturally be inclined to give them a leg up. Mia, in particular, earned her status as a star more than Gosling did. She never did this before, and only through her talent did anyone give her the time of day. That's how good she was. Gosling was a prodigy who could have been famous and knew everything he needed to get ahead in his field (or at least was open to learning when the opportunities arose like a fish to water), what stopped him was his self destructive tendencies. Once they were gone he had the Golden Ticket. He didn't even have search for Legend either, they both knew and respected each other and Legend knew enough about his talent to book him asap.
I'm summary, Rogue One is a simulalcrum for our age: (real rogue one spoilers)
Rogue One wasn't the end, it was the middle. In the end the good guys win.
And then their damn Millenial kids ruin everything! Or something like that.
Dude, are you really going with "I realized the reason everybody loved the movie is they were dumb enough to fall for it and I wasn't?"
Man, wow.
That's misleading. The individual on the left is only wearing a bit of lipstick.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Right at the time he should have been handing the Best Picture card over, he tweeted a photo of Emma Stone backstage.
He deleted it after the card mix-up.
omg
this is too delicious
NNID: Hakkekage
rip that guy
Oh, good lord.