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Posts by George Jackson21

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I was thinking about this the other day while watching some old clips of certain franchises, and it really got to me. There is this weird, almost uncanny tension that happens when a massive star hits their late twenties or early thirties, but the industry—and the fans—are still desperately trying to hold onto the "kid" version of them. We’ve all seen it happen. An actor starts as this wide-eyed, slightly awkward teenager, and before you know it, they’ve physically filled out, their voice has dropped, and they have this gravity to them that makes the "scrappy underdog" trope feel a little bit forced or even slightly uncomfortable to watch.

It’s a bizarre phenomenon. On one hand, we want to see these actors evolve. We want to see the growth, the maturity, and the shift from "boyish charm" to actual dramatic weight. But on the other hand, these massive, multi-billion dollar franchises are built on the foundation of a specific kind of youthful energy. When the actor starts looking like a grown man who could reasonably be someone's older brother or even a father, the "coming of age" narrative starts to feel like it's being dragged kicking and screaming through a hall of mirrors. It creates this dissonance where the character is supposed to be struggling with high school or early college life, but the person playing them looks like they’re ready to sign a mortgage.

I remember back in the day, there were certain actors who transitioned so seamlessly that you almost forgot they were ever kids. They had this chameleon-like ability to age with their roles. But lately, it feels like there's a massive disconnect. It’s almost like the studios are trying to keep the character in amber, refusing to let the character age because they’re afraid of losing that specific demographic of viewers who grew up with the actor. But you can't fake physical maturity. You can't pretend a person hasn't developed a different presence or a different physical stature.

And then there’s the chemistry aspect. This is where it gets really interesting for me. When an actor has been part of a "universe" for a long time, they develop these deep, shorthand connections with their co-stars. But as those actors age, the dynamic shifts. You start seeing these instances where the chemistry isn't just about the script anymore; it’s about the sheer weight of the shared history between the performers. Sometimes that helps ground a movie that might otherwise feel a bit disjointed or even a little bit "off," acting as an anchor for a character that might be struggling to find its footing in a new, more mature phase of the story.

I honestly find myself questioning the direction of many modern blockbusters because of this. Are we watching a character's natural progression, or are we watching a desperate attempt to squeeze one more "youthful" adventure out of a performer who has clearly moved into a different stage of life? There’s a fine line between a character maturing and a character being forced to stay young, and when a franchise crosses that line, it can feel jarring—almost surreal. It’s like watching a person try to fit into clothes they outgrew five years ago. It might look okay at a glance, but if you look closely, you can see the seams straining.

It makes me wonder about the longevity of the "hero" archetype. If the hero is defined by their youth and their "learning" phase, what happens when the actor becomes the veteran? Do we just keep resetting the clock, or do we finally allow the stories to grow up alongside the people telling them?

Do you think franchises should force characters to age naturally with the actors, or is there more value in keeping the "vibe" of a character consistent, even if it means ignoring the physical reality of the performer?
The Godfather in Movies ·
Moose said:This movie is about as subversive as a mainstream pop song on Top 40 radio. Personally, I think Gangs of New York is easily the worst Scorsese film I’ve ever seen—it feels bloated, shallow, and just incredibly sappy. Daniel Day-Lewis looks like he's constantly nursing a hangover (kind of like De Niro in those old comedies), DiCaprio seems even paler than usual, and even John C. Reilly is underwhelming here. The plot is painfully melodramatic and so over-the-top that it feels like a cheap Hollywood caricature. In the end, everyone dies, and DiCaprio just stares at the sun playing the flute. Whatever happened to Kate Winslet? She seemed to be chasing after too much screen time. To be fair, Titanic is sixteen times better than this mess. As far as being provocative goes...🙄 Politicians are just corrupt, and honestly, between the Irish and Italian gangs clashing and everyone hating on the local crowds, things are pretty messy. It’s all a bit provocative, I guess.

I just got home from the theater, and that's my take on it... though I guess I still think Daniel Day-Lewis was great.
And this too.

It feels like the script was written strictly by the numbers to me. You have friends falling for the same woman, leading to one betrayal, then just like what Morgan Wood14 mentioned regarding Butcher, Butcher betrays DiCaprio. Finally, Monk hands the razor to DiCaprio, who ends up cutting his own face—it’s just a cliché, honestly. I can't quite find the words for how underwhelming that was.

I guess I wonder why they still feel like making those kinds of movies. It just feels like cheap sentimentality to me. 🤮 It seems like every movie that actually has potential gets turned into some standard American chicken nugget, and they just end up ruining the whole thing. I guess.
I guess the production design, costumes, cinematography, and score were all alright.
Rape: Fact or Fiction? in Philosophy ·
jadetinker85 said:I kind of like the idea that as a woman, I could assault anyone and probably wouldn't face any legal consequences for it.😁

I felt like I really had to highlight this one.🙄
Just as a joke, I guess.🤮
Rape: Fact or Fiction? in Philosophy ·
placidorca16 said:I suppose men and women aren't equally capable of committing sexual assault against the opposite sex. In my view, rape is largely a form of male violence directed at women or children, while any instances to the contrary seem to be rare exceptions that are almost negligible.

Just for the sake of argument, let's say we take a hypothetical scenario where someone close to you—maybe a brother, a partner, or a good friend—was part of that small number of men who have been assaulted. I guess you wouldn't call it "virtually negligible" then, would you?
The reality is that while their numbers are smaller than those of women who have been assaulted, even a single case is far from insignificant, I guess.
I guess that kind of logic feels a bit absurd to me. You eventually have to draw an arbitrary line somewhere... like saying 50 is negligible, but once you hit 51, suddenly it matters. Maybe it's just how we see things, I suppose. 🙄 Those fifty might seem insignificant, but this one individual makes all the difference. I mean, we’re talking about people here. I guess even just one person truly matters.
Just wanted to add that I thought your first post was pretty good. 👍 I guess you might have written this without really thinking it through, or maybe something else happened.
And those people above joking about wanting to be assaulted... it’s just gross. Honestly, it seems pretty pathetic.🙂
Rape: Fact or Fiction? in Philosophy ·
[QUOTE]Jack says:
But how can we be certain when to label a sexual encounter as violent—specifically, as rape? How can anyone be one hundred percent sure that one party didn't actually want to participate in the act?
It seems like the typical excuses used by perpetrators are always the same: they claim the other person's no actually meant they wanted it.
Furthermore, how can we know if the victim didn't, at some point, somehow invite that kind of situation?
[/QUOTE

😲
I guess this is the "best" part for me.
My take: 🤮[/QUOTE]