OK RTGAME WHAT THE FUCK

I thought your last Balatro video terrified me. This most recent one I just watched a man spite the gods, the devils, and the universe itself to create the most incomprehensible abomination unknown to man. this last hand you played. The numbers you achieved. RTGame has broken the universe. He has dethroned the devil and he simply laughs from his throne of glass polychrome 4 of spades. I, for one, am terrified, of what RTGame plays like when he is not guided by blind luck (his first RTGame seed play through) and instead guided by knowledge.

Prometheus stole fire from the gods and gave it to man. For this he was chained to a rock and tortured for eternity. Oppenheimer (2023) dir. Christopher Nolan

I love your take on Oppenheimer!! I completely agree! The whole time I was watching it I got this very strong sense that I was supposed to feel sorry for Oppenheimer cause he dID sO mUcH FoR hIs CoUnTrY and then they were mean to him :’( but it’s like he spent countless hours and billions of government money researching how to kill as many people as possible with minimal effort under the guise that it was all about the science when it is impossible for such an undertaking to be purely about the science. It was frankly naive of him to believe that the us government wouldn’t use the bomb the second it was available to them whether they needed to or not. And him feeling badly about it after the fact and regretting what he did does not excuse his actions or his naivety. The movie could’ve delved more deeply into this it could’ve shown the devastating effects of the bombs after they were dropped and could’ve demonstrated the long lasting effects it had on society as a whole in the decades that followed. Instead in the movie after the bomb is dropped we get to see the effects it had on Oppenheimer only. And to be honest I do not care that he felt bad I do not care that he lost his security clearance and I do not care that he was at long last “forgiven” by the government. He facilitated the murder of hundreds of thousands of innocent people and that in my opinion cannot be forgiven.

you summed it up perfectly - I was really hoping that we were going to get a good character dive into this man and how torn he was about the entire project- because on one hand it’s the pinnacle of everything that he’s ever worked towards and would solidify his name in history forever but…..on the other hand……he is still building a weapon of mass destruction

I just personally think this movie took a more shallow approach with it by giving him the “hallucinations” of the bomb all the sudden after trinity was a successful and then he FINALLY starts to feel torn about it. Whereas before he was just like “well whatever 🤷 someone’s gotta do it”. Now all the sudden he’s realizing that he built a nuclear BOMB? Idk i just feel like by the end Oppenheimer was just as much of a mystery as he was at the start and just….didn’t feel like a real character to me. what motivated him or drove his moral values seemed to change on every two minute scene

and personally I think so much time was wasted on the Strauss vs Oppenheimer plot. Like the big “twist” in the middle of the movie was revealing that Strauss was the “bad guy” the whole time who wants to boot Oppie out of the government but…..why should we care? We’ve only had a few scenes with the guy beforehand and never built much connection with him to begin with? All the sudden he’s the one to look out for? Ok….whatever? lol

what I will say though was that RDJ and Cillian Murphy acted their asses off and made the story as palpable as they could. And of course all the visuals of the trinity bomb were fantastic. I’m not knocking anyone who loved the movie. I just had such big hopes for this project since the beginning and it personally just missed the mark for me

WHERE WERE THE AWAKENING SECOND GEN ON JULY 21ST 2023

watched oppenheimer and cillian murphy was so right when he said everybody delivered because every scene was an acting masterclass

and they’re boyfriends

the problem with me and nolan is that i ALMOST love a lot of his movies (that ive seen) except in almost every one there's 1 glaring aspect that i hate (it's usually misogyny) that makes it hard to like the rest of the movie

I watched barbie today 😭

My two cents on THAT scene in Oppenheimer (cause I'm seeing a LOOOT of discourse around it) as a Hindu - I literally don't care lmao. I eat up anything that combines Christianity and sex, and I'd be a hypocrite if I were to do the opposite when it comes to my own religion. In this house we don't discriminate against religious blasphemy.

I think it's funny how people go on about debating whether or not barbie used an appropriate tone in regards to masculinity while fucking no one is talking about how weirdly misogynistic Oppenheimer was (the movie, Idk about the dude).

Like I didn't expect much from Nolan because he seems to struggle when it comes to writing female characters but this one seemed particularly bad.

And the way Jean Tatlock was treated in this movie makes me beyond mad. I know the movie isn't about her but still, you owe her the respect of at least making her more complicated than that if you're going to overtly sexualize a real person that actually existed ( who apparently struggled with their own sexuality ). Like the movie takes the time to say how degrading it was to Oppenheimer and his wife to have his affair open to the public by literally showing him and Tatlock having sex in front of everyone and not a thought is given to the actual woman who by that point had killed herself (possibly, it's a whole thing) whose entire being is reduced to a visual representation of Oppenheimer's womanizing and infidelity. This is beyond disgusting.

just finished barbie......... girl what the FUCKKKKKKKKK

Alright, I saw Oppenheimer. Magnificent film, loved the cinematography and the acting. If I’m going to be honest, I really like the nonlinear format. Cillian Murphy was excellent, very nice eyes.

Would definitely recommend :)

all this hype on Oppenheimer for MONTHS and the actual movie was just kind of…….ehhhh

both Ken and Oppenheimer are nothing without Barbie

Ending of Oppenheimer: The next step into this nuclear chain reaction of destruction is the rocket based nuclear warheads; images of missles are what now contains the fear of humanity's inevitable doom.

Me, who helps build rockets for my job: lol it's me, I'm the Oppenheimer now babyyyy

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."