The actors’ strike is unique in that compromising on AI kills the existence of their profession. Once their likeness and voice can be replicated by machines, they are all fired and have zero job prospects moving forward.
TPTB will churn out endless drivel at zero cost, pay actors nothing, and drown the world in more shallow, meaningless deepfake AI culture.
They didn’t go after the Arts first. They’re just able to go after them now. People in tech have watched their jobs get slowly eaten away by automation for over a decade now. And factory workers for longer than that.
drown the world in more shallow, meaningless deepfake AI culture
I find the imagery of a bunch of people entertaining themselves to death while non-sentient automated machines pump video into their eyeballs so deeply creepy that I’d like to assume it could never happen on a large scale, since a feeling of “connection” is kind of a big part of art consumption.
But part of me also knows that there will be a non-inconsequential part of society that wouldn’t have any problems with it.
Would They Follow follow It Follows if It Follows doesn’t follow They Follow? Of course, They Follow follows It Follows as It Follows precedes They Follow.
Ok, “follow” looks and sounds wrong now. I’ve said it too much.
To be fair, I haven't watched both films yet, due to me still being a bit broke in terms of money. Yet, to jestly answer, Something is indeed following both film's plots, one by one.
Woot! Looking forward to this. I loved the first one, for the story and for the strangeness of things in it. Remember the clamshell e-book reader? Need more of that tech in real life!
That weird e-reader thing is one of the small touches I love about it. Among other things, it really gives the movie this out-of-time feeling. Which I think adds to the uneasiness of it as a whole.
Loved it. I think I read that they purposely did it to make it not able to place in any time period. No cell phones. Everyone looks vaguely 80s style. Lots of older cars. But then this weird future e-reader in a seashell? wtf.
Maybe. What makes the thing scary is how unstoppable and inevitable of a force it is, no matter what you do and no matter where you go. I’ll be disappointed if they somehow find a way to kill it in the sequel.
Until it happens to befall a depressed or suicidal person who just goes “fuck it” and let’s it catch up. What then? The curse cannot be passed on so it’s essentially just over forever, right?
Understanding it or figuring out where it came from would be even worse than killing it. The characters knowing almost nothing except what they observe directly is what makes it so terrifying.
It also functioned well as a metaphor for growing up/loss of innocence. I’m not sure how well it will go trying to explore that theme further using the same metaphor.
They didn’t even get through an entire movie without ruining that mystique. It wasn’t very “unstoppable and inevitable” when it was just standing on the roof of a house, or when it just grabbed that girl by the hair but failed to do any damage.
This is almost always the case with sequels and IS always the case with reboots and remakes. Nobody can come up with original material anymore apparently.
That app is shockingly bad. I do not pretend it’s easy to make an app, or expect that everyone’s app should be as slick as Netflix’s. But for a service that’s coming up on a decade old, it’s astonishing that I can’t even use it half the time on the most popular TV brand.
Yeah, the stakes in S2 were not as serious, and it had that “we got the gang back together with a flimsy plot because S1 was so popular” feel. Kinda slapdash like a lot of Prime series.
Neil Gaiman is on Tumblr and has answered A LOT of fan questions about season 2.
I'm going from memory and heavily paraphrasing, so look this up for yourself if you're still interested.
There was going to be a sequel to the Good Omens book, Gaiman and Pratchett had written a bunch of outlines and stuff for it, and it was going to be called 666 The Neighbour Of The Beast. Stuff happened and it was put on the back burner and never actually written, and then Sir Terry died and it couldn't ever be.
After GO got picked up for a tv adaptation of the og book, Neils' plan for if it was renewed, was always for GO to be 3 seasons, and to keep all of Pratchett's input.
Season 2 needed to happen the way it did as it's the world/character building and exposition necessary to set up the originally planned sequel- plus some incredibly well crafted fan service to keep it fresh. Neil told us it was going to be a gentle and romantic interlude (the bastard).
Season 3 apparently is going to be a lot more like season 1 as it's armageddon all over again, and this time they're serious. I think they're even bringing back jesus, who probably has more issues with god than Crowley by now.
I liked both for what they were. Season 1 was exactly what you’d expect given the authors and as a huge fan of discworld I’m very happy with it. Season 2 was a cozy love interlude and as someone who wants more good cozy gay content and watched it with her wife I’m very happy with it. Also the Job episode was wonderful
For all the talk of Scorsese honoring the Osage in the production, I felt like Molly and the rest of the tribe were pushed into the background for a good 2/3rds of the movie in order to tell the story of the emotionally tortured white guy who keeps helping murder his in-laws. It felt like Molly’s only real moment of agency was when she went to DC to beg for an investigation.
Also, I for one (and my girlfriend and our friend for two and three) felt that this 3.5 hour movie felt like a 3.5 hour movie. It would have been better served as a miniseries à la Chernobyl, not least because I understand a lot of content from the book didn’t make it to screen. I feel like Scorsese is too much of a purist to have entertained that route though. There are enough big plot beats that you could break on big plot beats and it wouldn’t feel like… well, a 3.5 hour movie.
I felt like Molly and the rest of the tribe were pushed into the background
Having read the book, that was kind of the point. They didn’t have agency, because it was literally robbed from them at every moment. And during the part of the story where Ernest is under scrutiny and forced to own up to his sins, his wife is as passive as it can get, because she’s on death’s door and bed-ridden. It would be artificial to give her a big presence there, because in reality she was in the process of literally disappearing from the world. Molly actually gets more of an emotional presence onscreen, in part because the book is a more journalistic account and first hand sources of who she was are limited. I would like to have seen some scenes of her moving on with her life afterwards at the end in place of that weird epilogue.
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