fandomsecrets | [ SECRET POST #3341 ]

⌈ Secret Post #3341 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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[David Mitchell/Victoria Coren, British Comedian RPF]

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03.

[Assassin's Creed Rogue]

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04.

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05. [SPOILERS for Letters From The Inside]

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06. [SPOILERS for The Force Awakens]

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07. [SPOILERS for Gintama]

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08. [SPOILERS for The Something? Supernatural? Maybe?]
[WARNING for non-consensual relationships]

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09. [SPOILERS for Walking Dead]
[WARNING for parental incest]

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10. [SPOILERS for Black Mirror]
[WARNING for bestiality and rape]

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11. [SPOILERS for Bioshock Infinite]
[WARNING for incest]

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12. [WARNING for underage]

[Leon: The Professional]

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13. [WARNING for abuse]

[Venus Angelic]

Notes:

Secrets Left to Post: 00 pages, 000 secrets from Secret Submission Post #477.
Secrets Not Posted: [ 0 - broken links ], [ 1 2 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Flat | Top-Level Comments Only

SA - I actually read a few of the other responses so I thought that I would expectation-set a little here: I think where a lot of people are coming from is that, like, we're at a point in history where a ton of movie nerds are intimately familiar with the techniques and structures and ideas behind movie scriptwriting, to the point where those ideas can sometimes inform a huge part of the conversation about movies. And I think where people get frustrated is when it feels like those ideas - which are, basically, tools for writing movies, and not really so much critical rules for what makes a movie good or bad - become a dominant part of the conversation about movies. It feels like the conversation is a level removed from the actual experience of watching the movie. And that's very frustrating sometimes.

And so I think that's what people are responding to here - in particular, the way that you're talking about character development sets off a lot of those warning bells, as well as the idea that the plot is "formulaic". And also the whole question about nostalgia is its own super-weighted-down minefield of arguments and assumptions that I don't even want to get into.

So, you know, sorry if people are snapping at you, but I think that's why. I think there's a lot of productive criticisms to be made but, like, I would be really curious about why you thought that Rey specifically didn't work for you, or why you did or did not enjoy the plot. You know what I mean?

+100000000000 to EVERYTHING here.

It frustrates me to no end that people really do not realize that these things are absolutely nothing but tools. They are not rules. They are tools that developed recently and did not exist for stories a long time ago and once people come up with more/better tools to tell stories in the future, they will cease to be relevant. Not that they're bad or anything, but they are entirely optional. Storytelling is very much a conversation between writer and audience, and while it needs a set of conventions for practical reasons, these conventions are very flexible and changeable.

Thank you. I'm "here we go again" anon and you very elaborately said what I felt and would have tried to express if I hadn't been drunk texting from my smartphone

[ SECRET POST #3341 ]

Re: I don't think Star Wars: TFA was a well-written movie.

Re: I don't think Star Wars: TFA was a well-written movie.

Re: I don't think Star Wars: TFA was a well-written movie.