Musing on late-1970s & early 80s telly, and how it seems to me that a generation of liberal, bearded medical grads called Jeremy were able to devise their own skit shows for the BBC called things like The Big Pink Medicine Show because their uncle was Kenith Trodd. Probably. (@AliCatterall)
Can we go back to when horror movies were called “satellite of blood” or “theatre of blood” or “palace of the damned” and “the screaming never ends” cause like now we keep getting these one word title horror movies like Hereditary and Relic and Censor and it’s like this doesn’t tell me anything about the level of blood, screaming, or whether everyone in it is damned. (From the Web)
Modern horror movies just be this: Monster that is an allegory for untreated trauma (silhouette hanging in the air)/Horror movie protagonist (running away down corridor) (@DionicioRT)
That terrible singy songy non-existent Irish accent done by American actors, and nobody is ever from Cavan or Mayo. Awful stereotype Liverpool accents done by RADA actors. They sound like someone from Jo'burg choking on loft insulation. Nobody I know speaks like what the BBC thinks we do. (@ChrisFarrelly)
I do love/hate the trope where the main characters in films go through something utterly reality-shattering (in this case, being absorbed into a solid rock face and traveling through a massive dimensional rift) only to go 'that was weird' and just carry on. (@garwboy)
It is an unwritten rule of police procedural TV Series, that every such MUST have an episode about an ancient, dysfunctional band, with a dodgy history & hidden secrets, trying (and failing) to get back to together, complete with a body count. (AJB)
Is it just me or is The Great British Sewing Bee in danger of losing some of its simple, unaffected charm by including more of the contestants’ backstories, so that it becomes like any other dreary reality competition show? (Carol Midgley)
You know the thing where a TV/film character gets some devastating news and insists they talk about it there and then, despite the other character saying "We've gotta get out of here" due to imminent lethal danger? (@Femi_Sorry)
For a vapid, postmodern comedy drama, set in a weekend lifestyle supplement globalised world, Killing Eve was quite entertaining. But I don't quite get the love for Villanelle, whose acts of extreme violence (e.g stabbing a father and daughter to death) are reduced to slapstick. (@Lord_Steerforth)
Fictional widows are either steely or tear-drenched, hard-hearted or prone to splattering their sorrow all over the walls and furniture. (Catherine Mayer)
I have watched too many murder mysteries, as far as I know the main role of a maid with a tray of china is to drop it and scream. (@hippytea1)
Why do pretty much all new TV programs have to be "gritty", "realistic" and "edgy"? (via Twitter)
Every disaster movie starts with someone ignoring a scientist. (@NetflixUK)
It's the old, old story; droid meets droid, droid becomes chameleon, droid loses chameleon, chameleon turns into blob, droid gets blob back again, blob meets blob, blob goes off with blob and droid loses blob, chameleon and droid. How many times have we seen that story? (@JadeTigerPlays)
This is a variation on an old theme where a person with a problem swaps identities with another person to avoid his problem only to find that he has inherited a far worse problem. (Imdb on Deadly Nightshade)
Carol Midgley in the Times on The Tower, new cop drama: While mostly well written it had clichés too, such as the line churned out by all TV dramas to childless women to suggest they just don’t get [it]: “Do you have children?” a mother asked Collins. “No, I didn’t THINK so.”
There was still this obsession among directors (an older generation) with jazz as the sound of the sixties. It wasn’t. (peterviney.com)
Isolated high tech base, check. Paranoid commanding officer, check. Monsters, check. Security chief, check - in one of these stories there's a security chief in a MONASTERY. Just... why. Why do that. Why keep remaking the same bloody thing. (@JonnElledge on late 60s Dr Who.)
I love how in movies to show someone is poor they make them live in a normal apartment and take the bus. (@geekylonglegs. “If only we could get out of this terrible suburb!” wails Mildred Pierce looking around her gracious Spanish-style home with a curved staircase descending into a vast hall. In the book she is mortified at having to live in a Spanish-style house when taste has moved on. How does a waitress job sustain this lifestyle?)
Well Dune was great, looked fabulous, much moody gazing, explosions, evil villains, punch-ups, sinister nuns etc etc though what on earth anyone not familiar with the novels would make of it, I have absolutely no idea. (@JoolzDenby)
Do all British TV coroners have to be sarcastic in a macabre way? (@ChrisFarrelly)
That "Shhhingg!" sound when the killer pulls a knife is called a "snickersnack". (@ThePenDrake)
EVERY MOVIE TRAILER NOW:
We hear a single piano key play.
A shot of a basketball court at dusk.
Sally Field [V.O.] “Your grandfather was… complicated. There’s a lot you don’t know, can’t understand.”
A children’s choir starts singing In the Air Tonight by Phil Collins.
(@emmylanepotter)
Antiques Roadshow clichés from silver expert Michael Baggott
Cameraman focuses on the expert not the object.
Bought at a carboot/charity shop for pennies.
Tedious story of acquiring Beatles/celebrity autographs.
More here, and links to the rest.
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