I rewatched Dune part 1, hoping to take away a better impression than I had when I saw it in theaters. Unfortunately I still don’t find much of value in it. I still need to rewatch part 2, and maybe that could still change my mind. But I’m not holding my breath.

In brief, Dune seems deeply misanthropic. The message is: the masses are irrational and easily duped by conniving populists that promise revolution. Simultaneously Horseshoe Theory and Great Man Theory. It is a diatribe against democracy and the intelligence of the underclasses.

Am I massively missing the point of this story? I have sought a Marxist analysis of these movies, and the ones I have found only ramble aimlessly the cleverness of Villeneuve for subverting the spaghetti-western hero trope and for being “self-aware” about Orientalist and colonial themes. As far as big-budget media goes, I think Andor is far more useful for leftist agitation than Dune could be.

Best Stephen King adaptation, I thought I wouldn't cry as deeply as I had on movies of terrible but loving optimism and then, that beautiful score playing and watching Red and Andy meet up again at the end....I finish the movie and went to shit and cried hard in the bathroom

I love how it explores life in a prison, showing their routines but also how prison affects you psychologically. All the scenes where men are shown to be free in spirit are accompanied by music or strife or travelling and it's kind of crazy to then realize after the movie is over that our static urban lives are not much different than prisons themselves. Just part of the experience I suppose but it's great that the movie affects you that because ultimately that's what makes it so universal.

This is a movie about hope and freedom in a man's soul and above all it's about Red and Andy's friendship.

The score is such a beautiful piece of accompaniment that perfectly showcases the emotional truth and horror of every scene, it's shot by Roger Dealings so of course it looks great as hell especially when coming to prison for the first time, seeing all those men standing down there in the ground and the camera sweeps from far over them, it still looks really good despite the age.

The thing that stands out in the movie alongside it's hopeful themes even when it refuses to sugarcoat the harsh reality of evil in men, of hypocrite characters that just want to ruin it for everybody; lies the identity of it being an adaptation of a short story written by Stephen King. It's narrated throughout and the narration fits perfectly, like a story we are being told. Morgan Freeman's sad voice of a man who has gone through so much tone and it really completes the film perfectly. His voice really makes the movie go over much more smoothly and is a very important part of it, I don't think it would remotely be the same without it.

I have always thought that King captures America's normalness and character really well and this work atleast is perfectly suited to being adapted. It's a story about a men wrongly convicted and sentenced for life and then learning to make a new life and starting over, a man who refuses to let go of the goodness of society, goodness in men and the importance of hope and friendship even in a dreary soulless place like a prison. Along the way he manages to convince even others of their own humanness and the caged canary spirit of freedom in them, and it's beautiful to see that. In a way I suppose it is the prison version of Dead Poet's Society but since I haven't seen that film yet, I can't comment on it too much.

Love how the movie makes a very compelling case study on institutionalized men who are released from prison and don't know where else to go, the story of Brooks feels believable and tragic and universal. Love when movies teach you something important while making you sob lmao

P.S: the excessive"bull queer" scenes did take me out a bit watching this movie now for the first time but I suppose it's just something that happens in prisons. I'm even glad that it's there to break the monotony of its feel-goodness

Garak knew Worf in hellraiser!?

Anne Hathaway is a comrade confirmed

I don't watch "Tonight Show," but I watch Dolly Parton's Mountain Magic Christmas every year and damn if this existential nostalgia horror doesn't define the Fallon/Parton musical number in the 50's diner

Copying the description of this video:

Ahead of its debut on April 27, Disney has shared a first look at footage from Songs in Sign Language, its collaboration with the Deaf West Theatre that reimagined and animated songs from Frozen 2, Encanto, and Moana 2 in American Sign Language (ASL).

Directed by veteran Disney animator/director Hyrum Osmond, the featured songs are “The Next Right Thing” (from Frozen 2), “We Don’t Talk About Bruno” (from Encanto), and “Beyond” (from Moana 2). Take a look at clips taken from each musical number, as well as behind-the-scenes b-roll footage that offers a look at the process.

Osmond, along with producers Heather Blodget and Christina Chen, worked in collaboration with artistic director DJ Kurs and the team at Los Angeles’ Tony Award-winning Deaf West Theatre to create the new versions of these songs. A special behind-the-scenes featurette will accompany its release.

Osmond led a team of more than 20 animators who worked with sign language reference expressly created for Disney Animation’s Songs in Sign Language. DJ Kurs, artistic director for Deaf West Theatre, worked with sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West Theatre, reimagining and choreographing lyrics into ASL by focusing on concepts and emotion instead of a word-for-word transcription.

Disney Animation’s Songs in Sign Language will be available on Disney+ on April 27, which coincides with National Deaf History Month.

Video/Photo Credit: Courtesy of Walt Disney Animation Studios

Some important notes: no """AI""" was used to make this. They literally took the actual assets from the movies and re-animated them in ASL. And it is ASL, not SEE or contact sign or anything else.

Something I find especially striking about this Disney project is that 11 months ago I made a post to /c/worldbuilding about an "Open Sign Language Animation Project" in the future: after the global socialist revolution, Japan established a state-owned animation studio that took over all the animation assets of Ghibli films and other classic anime. So this project of Disney's in the present day is sort of the closest thing to OSLAP in our time, and it proves that dubbing animated films into sign languages is feasible and something there is a real demand for. But imagine how much more accessible media could become if films' animation assets were made publicly available! That was the idea behind OSLAP: making animation assets publicly available for the purposes of dubbing formerly-copyrighted works into sign languages. Unlike Disney's ASL songs project, though, OSLAP had a limited usage of ML technology: first, 3D anime character rigs were created for traditional motion capture; and then each work in the project would also have a machine learning-based renderer created for it, to optionally convert the 3D rigs into the 2D anime style of the respective work (see this video).

Incredibly gut wrenching movie 10/10 experience felt a lot of emotions. I don't do or read film analysis but I'd love if someone pointed me to a good one of this movie. There were a lot of motiffs that I caught the existence of but not the meaning of.

Anyway I came here to ask if anyone else found it unfulfilling? It was a very well made film but it felt like it had no closure. I assume this is intentional and meant to reflect the lack of closure that victims of war often experience but I wanted y'alls thoughts on it. I also found the title very interesting and sort of mocking. It's like the creators are disgusted by the fact that I would want to witness their carnage and only showing it to me in a "get what you asked for and live with it" kinda way.

Highly recommend this movie

A startling behind-the-scenes warning from the heart of The Original Series: Dorothy Fontana saw the danger before the fall became obvious. In this video, Trek World explores Fontana’s 1967 memo, why she feared Star Trek was repeating itself, and how concerns from insiders like Robert Justman, Joseph Pevney, and Walter Koenig reveal a series under real creative strain.

This is not just a story about declining quality. It is a story about identity — about what happens when a bold show begins imitating itself, losing balance, and drifting away from the very imagination that made it matter. From Bread and Circuses to A Private Little War, this episode examines the philosophical cracks forming inside Star Trek’s second season and why Fontana’s warning still echoes across the franchise today.